The Murder Capital – ‘Blindness’ album review: eclipsing the ‘post-punk’ label
THE SKINNY: Back in 2019, the ‘post-punk’ label was being attached to anything and everything within the independent music scene. If it had distorted guitars and moody vocals, you can bet your last pint of corporate IPA it would be dumped into the rapidly growing ‘post-punk’ section at any given record store. The Murder Capital fell victim to this treatment, and their 2019 debut, When I Have Fears, came to typify the sound of late 2010s post-punk. Now, though, the Dublin band are keen to throw off the shackles of that genre tag and explore a wide range of different themes.
Two years after their last effort, the Irish group returned to unveil Blindness. Only their third studio album, the diversity and strength of songwriting showcased on the album, evokes a group operating far ahead of their time. The darkly distorted basslines and anarchic energy of their early material still remain, particularly evident on tracks like ‘Moonshot’ or ‘Can’t Pretend To Know’, but there is so much more contained within the eleven tracks that make up Blindness. Most notably, the record contains more than a few moments of stripped-back vulnerability, adding new layers to the appeal of The Murder Capital and showcasing their sonic diversity.
As the tracklisting continues, the energy and mood of the record rises and falls at the drop of a hat, moving from moments of brooding basslines and wailing guitar tones to vocalist James McGovern laying his heart bare for all to see. In fact, McGovern’s vocal performances rarely falter in quality as the album progresses. His voice is similarly suited to the raw rock sound of their more uptempo offerings and the more vulnerable moments on the record. At points, his voice borders on the kind of romantic crooning that evokes images of turtle-neck jumpers, red wine swirling and cobbled-street romanticism. It adds beauty to the rainy reckoning of the record and its gritty themes.
Blindness is a masterclass in keeping audiences engaged throughout the entirety of the tracklisting. Not only are The Murder Capital unhappy with the idea of sticking rigidly to the sounds of that dreaded ‘post-punk’ tag, but they are also similarly ambivalent toward repackaging the same sounds over and over again. A lesser group might have attempted to recapture the success of their early records, and while the band certainly hint at their origins, there is no doubt that Blindness is a forward-looking album, keen to embrace new and exciting avenues of inspiration. Keen to reflect the world boldly.
For fans of: Overpriced IPAs and hanging around the leather section of a vintage clothes shop.
A concluding comment from the ghost of Mark E Smith: “It’s bad enough that all of these young post-punks stole my act, but now they’re naming albums after my songs and naming songs after my band! Cheeky bastards.”
Blindness track by track:
Release date: February 21st | Producer: John Congleton | Label: Human Season Records
‘Moonshot’: Wasting absolutely no time, The Murder Capital erupt into a darkly distorted cacophony of sound on the album’s opener. The moody tones of James McGovern occasionally drift into the realm of romantic crooning, but there is also an endearing sense of unpredictability within his performance. [3.5/5]
‘Words Lost Meaning’: A more brooding, lowkey affair in comparison to the album’s opener, but you still could not describe this song as anything close to ‘mellow’. Dirty guitar tones, heavy basslines, and alluring vocals are quickly becoming the definitive sound of this record. [3.5/5]
‘Can’t Pretend To Know’: Injecting some energy into their approach, the Irish rockers draw from their post-punk roots in addition to old-school indie influences on this track. As with their previous efforts, however, there is an undercurrent of darkness that only becomes more intriguing as the album continues. This song, in particular, is likely to become a staple of their live shows. [4/5]
‘A Distant Life’: Unaccompanied vocals introduce this effort, and even when the band kicks in after a few bars, the focus seems to be entirely on the lyrics and vocal performance within this song. As such, ‘A Distant Life’ is a refreshing change of pace for Blindness. [4.5/5]
‘Born Into The Fight’: A more vulnerable, personal offering than the raucous post-punk which had dominated the record thus far, ‘Born Into The Fight’ showcases a different angle to the band’s songwriting. Its building atmosphere is paced expertly, and its unpredictable changes in intensity make it one of the album’s more memorable moments. [3.5/5]
‘Love of Country’: Reaching the mid-way point of the record, the group offer a stripped-back and organic sound on this track. While the energy of previous efforts is somewhat missed, there is certainly a lot to enjoy within this emotional work tackling nationalism. [3/5]
‘The Fall’: Probably not an ode to Prestwich’s finest, but a very enjoyable effort nonetheless. After a couple of slower, more vulnerable tracks, the energy and raw atmosphere of ‘The Fall’ is welcome. Throughout the album, The Murder Capital are adept at changing the atmosphere from track to track, which makes for an engaging listening experience. [4/5]
‘Death Of A Giant’: Arguably Diarmuid Brennan’s finest moment on this album, the drumming forms the bulk of appeal on this song, creating a driving atmosphere that exudes the appeal of live music, small rooms, and sweaty chaos. [4.5/5]
‘Swallow’: An enjoyably gentle jaunt, ‘Swallow’ does not seem to fit in with the narrative of Blindness thus far. In isolation, however, its pastoral springtime theming and mellow atmosphere are unexpectedly suited to the inherent sound of The Murder Capital. [3.5/5]
‘That Feeling’: While the lyrics and core themes of this song have been repeated countless times over the years, The Murder Capital manage to bring their own unique voice to proceedings. As the album’s penultimate track, the band succeeds in keeping audiences gripped until the bitter end. [3/5]
‘Trailing A Wing’: In contrast to the anarchic chaos of the album’s opening number, the Dublin outfit leaves us with a much more reposeful sound that borders on acoustic at points, speaking to the diversity offered by The Murder Capital throughout this album. [3.5/5]
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