Walt Disco – ‘The Warping’ album review: confident gothic theatrics that will either dazzle or unsettle
THE SKINNY: Camp is usually a word used to describe something that effortlessly lacks taste or value but does so deliberately—poor taste becoming a stylised aesthetic is one of the most interesting phenomena, and when executed well, it can be extraordinary. For their new album, Walt Disco leans into all the reasons they became popular in the first place, flaunting their flamboyance with an ample essence of campness, music adeptness, and shimmering appeal.
However, the point at which it becomes a little too jarring is less about the technicality, which is clearly there with purpose, and more about the over-the-top delivery of the otherwise gorgeous vocals. This tips the scales a bit too much into cabaret territory and not enough into the realm of genuinely talented glam-rock sensibilities. This is a quartet whose talent is indisputable, and so any shortcomings here all come down to personal taste.
From the moment the first notes begin to tiptoe into whichever room you find yourself sitting in, it’s a promise of flashing lights, glittery adventurism, and extroverted viscera. David Bowie may be a notable influence the moment the voice leaks out of the speaker, but the party that ensues is nothing short of a sonic explosion of theatrical tactics, gothic aesthetics, and glamourous presentation. For those so inclined, this is a display incomparable to anything else.
But it’s also slightly uncomfortable for those who aren’t—almost too much like the pivotal moment during a villainous Disney arc. Almost everything throughout The Warping can be appreciated and admired, but not everything is as enjoyable, which is unfortunate considering the fact that this is a band that’s so easy to envision making it to the big time.
For fans of: Excessiveness in all its forms.
A concluding comment from my nan: “It’s…different.”
The Warping track by track
Release Date: June 14th | Producer: Walt Disco | Label: Lucky Number
‘Seed’: If you ever delved head-first into a ball pit when you were younger, you’ll probably remember it’s not as enjoyable or immersive as you had hoped. ‘Seed’ has promise; that’s a fact, but once the vocals arrive, everything gets a little too confusing, and if you’re not expecting it, it’s hard to get past. [2/5]
‘Gnomes’: Similarly, ‘Gnomes’ sounds and feels incredibly personal, which is commendable for any musician in today’s cut-throat landscape. However, the theatrics that show up with reckless abandon feel a little too showy, almost forced, harking back to that quintessential 1980s glam rock feel once again, but not as authentically as it has the potential to be. [3/5]
‘Come Undone’: This song feels a lot more accessible thanks to the immediate rhythmic groove that draws you in. The vocals appear a little more understated, too, which almost beckons forgiveness for the earlier anxiety. [3/5]
‘The Warping’: There’s something undeniably endearing about the arrangements throughout ‘The Warping’, almost like there’s a kindness to the band’s specific type of experimentalism and a nostalgic edge to the sounds concocted. [3/5]
‘You Make Me Feel So Dumb’: The arrangements here probably couldn’t be any more intriguing as the rhythm pulls you in while the guitar work encourages you to stay. The harmony only serves this beautiful tune further, particularly in the second half, with the addition of a perfectly timed key change. [4/5]
‘Pearl’: At this point in the album, it becomes clear that the songs that include more of a soft, almost whisper-like crooning appear more resonant than the others, its easy insertion into the delicate arrangements providing a more dream-like experience as everything seamlessly blends together. [3.5/5]
‘Black Chocolate’: In a confusing turn of events, the vocalist’s Scott Walker-esque approach seems easier to digest and gravitate towards in this song, most likely due to the slow progression of accompanying arrangements that build with enough deliberation to allow space for the listener to catch up. [3/5]
‘Jocelyn’: Although this song seems filled with as much delicate promise as the previous track, its lesser engaging pace makes it feel harder to maintain focus, more like drifting into an unwanted slumber long before you planned to. [2/5]
‘The Captain’: The energy returns immediately with ‘The Captain’, and there’s no denying the capabilities of every single piece to Walt Disco’s puzzle. If this song had appeared earlier in the album, perhaps it would have felt more engaging, but it’s still a worthy experience nonetheless. [3/5]
‘Weeping Willow’: That delicate sense of experimentalism creeps in again in ‘Weeping Willow’, with the soft vocals delivering a heartfelt and heady performance, the kind you can instantly imagine playing over a pivotal scene in a drama series. [4/5]
‘I Will Travel’: The floating feeling returns with ‘I Will Travel’, as its elegant mixture of major and minor tones leaves you wondering whether to feel comforted or unsettled. [3/5]
‘Before The Walls’: For an album closer, ‘Before The Walls’ is probably about as Walt Disco as you can get. It’s strange, a little off-putting, but in a way that leaves you wondering why it’s not entirely your thing when it’s so close to being. [2/5]
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