Tramhaus – ‘The First Exit’ album review: ferociously fun post-punk
THE SKINNY: The post-punk resurgence has seen a mixed bag of bands rising from all corners of the globe over the past decade, with some considerably better than others. Tapping into the political and the personal, these bands have defined a prominent period in rock history – for better or for worse.
When a genre becomes so saturated with bands piling onto the bandwagon, not all are going to make it through. Tramhaus, who hail from Rotterdam, seem like firm fixtures however, and with the release of their debut album, The First Exit, it surely won’t be long until their name is much more well-known.
The album isn’t very long – just nine songs that come to little more than half an hour in total – but each song is punchy and sharp. This is a band that knows the importance of keeping their audience engaged and enticed, and with every song, you can imagine the ferocity of their live performances, with hammering drums and prominent bass riffs causing the surface of the audiences’ beers to dance and jump within their plastic cups.
Tramhaus is led by Lukas Jansen, who channelled his experiences of discovering his sexuality into many of the songs, although the lyrical content is often rather ambiguous. Jansen drops us into the middle of thoughts, where the person he is addressing isn’t immediately clear. Thus, many of the tracks can be interpreted in different ways, allowing listeners to take from them what resonates.
The record plays with tempo and power, often mellowing things back down after a loud instrumental or vocal outburst, only to build them back up again. Tension is held delicately, as though stability could be snatched away at any minute, and tracks are often punctuated with stabs of guitars which keep the listener firmly on their toes.
Still, there are moments of slight complacency and predictability, as if we sometimes know when the band are going to launch into a reckless tirade. Yet, it would be unfair to say that The First Exit isn’t an incredibly assured debut. The band doesn’t shy away from unleashing pure energy and chaos, knowing exactly how to keep a lid on things, and when to let them boil over.
For fans of: Cathartic screaming and early 2000s post-punk.
A concluding comment from a man wearing a fisherman beanie: “British post-punk is soooo overdone now. Thankfully, these guys are from Rotterdam.”
The First Exist track-by-track:
Release Date: September 20th | Label: Subroutine Records
‘The Cause’: The album kicks into gear with punchy drums that welcome a spattering of guitars. It’s intense and the perfect frenetic opener to the album, with Jansen’s strained shouts instantly commanding attention. [4/5]
‘Once Again’: Tramhaus are confident enough to slow the album right down on the second track, arguably a bold move. Yet, the song maintains a nice pace, and by the final quarter, the energy of ‘The Cause’ is reintroduced. [3.5/5]
‘Beech’: The band play with tempo here, slowing down before speeding things up and giving way to a moshy, singalong chorus with stabbing shouts of “I-I-I-I do!” It’s bound to annoy some listeners, and send others headfirst into the pit. [3/5]
‘A Necessity’: Again, the band keeps up a steady rhythm before punctuating the steadiness with intense jolts of guitar and screams. Jansen also delivers some poignant lyrics here, regarding themes of identity. “Disguised myself in camouflage, ruined it by being loud/ Naked, cold, still wet, I’m done with living like someone else.” [3/5]
‘Semiotics’: The bass takes centre stage here, while an air of mystery is present, as though we’re building to something, but we don’t know when it’s coming. [3/5]
‘Worthwhile’: With brooding instrumentation that is thick, heavy, and dark, the song welcomes us to bathe in a soundscape that is a little more melancholic that other tracks. Jansen keeps the lyrics simple, yet effective, with lines like “Different needs to please, I please/ I want it all.” [4/5]
‘The Big Blowout’: This track feels much more peppy and upbeat than the previous number, with fast-paced riffs that you can’t help but dance to. [3/5]
‘Ffeur Hari’: With every shout of “Waste, distraction, violence, drugs, sedated, silence, love,” you can imagine these words being chanted in unison at a Tramhaus gig. [3/5]
‘Past Me’: Nadya van Osnabrugge, the band’s guitarist, duets with Jansen on this one, which feels like a suitable close to the record. The bass has a bittersweetness to it, and the pair’s determined shouts roll over dizzying guitars which feel as though they’ve been drenched in nostalgia. [4/5]
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