Shellac – ‘To All Trains’ album review: a counterintuitive swansong laced with sadness and silliness
THE SKINNY: Listening to the new Shellac album has to be one of the most counterintuitive experiences out there. In one sense, given that it was released only ten days after frontman Steve Albini’s death, it is a record laced with sadness. However, given the lyrics predate any notion of death, and they play into the general un-seriousness of Shellac, it’s also a lot of fun to engage with. The whole thing is tongue in cheek. As lines on the closer, ‘I Don’t Fear Hell’, say, “If there’s a heaven, I hope they’re having fun, cos if there’s a hell I’m gonna know everyone!” They have to be heard and laughed at like Albini would have wanted.
To All Trains is an interesting listen. An album that the band refused to do any kind of promotional work for, this LP, with a run time of just under half an hour, is unpredictable while also being repetitive. Shellac find a riff and stick to it on a number of songs, such as ‘WSOD’, which has an opening lick played over and over again, or ‘Scrappers’, where the instrumentation feels slightly drawn out. At the same time, though, the vocal rhythm present in songs and the haphazard nature of layering instruments means even if you have heard a riff 20 times, you still find yourself on the edge of your seat, wondering what might come next.
The noise rock trio has shown they still have it, as the album is equal parts chaotic and rock-heavy. It’s a record that doesn’t feel like it’s taking itself too seriously while staying very true to the band’s usual sound and giving those present a rewarding listen.
An album sad at heart but filled to the brim with chaos, noise and silliness, there is arguably no better swansong to accompany the late Steve Albini. His style is typified by the record. To All Trains is a gift for the listener, acting as a piece of remembrance for a giant in the world of sound.
For fans of: Reading War and Peace on a waterslide.
A concluding comment from the people of hell: “That voice sounds familiar.”
Shellac – To All Trains track by track
‘WSOD’: It’s hammer on and pull off galore throughout the opening track as a persistent guitar lick runs ragged. It’s an off-kilter and eerily timed number, vocals passionate and angry, instrumentation similar, immediately enticing from the word go. [3.5/5]
‘Girl From Outside’: A slower number that encourages head bobbing creeps in for the second track. While the music is persistent and straightforward, the vocals truly stand out, as the rhythm is intriguing, and the way certain lines are layered provides an unpredictable atmosphere. [3.5/5]
‘Chick New Wave’: A punch in the face of a rock song. We are eased in with minimalism before being exposed to an upbeat, punk-infused number that is thrashy in the way it’s delivered and incredibly unsentimental in its lyrics. [3/5]
‘Tattoos’: A fun, almost spoken word number over an ‘80s style hard rock riff. It builds an atmosphere like expositional ballads from pirate musicals do and is incredibly enticing throughout. Broody, unsettling and fun, what’s not to love? [4/5]
‘Wednesday’: The drums stand out on this record and are well and truly given time to shine on this song in particular. As it opens up, there are only the drums and one plucking guitar, yet it still sounds full. What follows feels like a punk song written by Black Sabbath as the doomy atmosphere dominates but the undeniable decades-old sound of Shellac is unrelenting. [4/5]
‘Scrappers’: As nice as the opening riff to this song is, some might argue it goes on for a bit, as the band seem reluctant to layer the track at first, playing into repetition before eventually bringing forward a thundering bass and vocals. When the track gets going, it’s packed with energy and hard to turn away from. [3/5]
‘Days are Dogs’: A fun and immediate spoken word piece. It sounds like the kind of thing the protagonist in an emo coming-of-age film would listen to. It’s well worth your time. [4.5/5]
‘How I Wrote How I Wrote Elastic Man (cock and bull)’: A slower and more broody track, unrelenting in its instrumentation and using drum fills to occupy what would otherwise be dead air. The lyrics seem sad, but it’s hard to draw straight lines in emotion with this track. [3.5/5]
‘Scabby the Rat’: This is another entertaining number with nonsense lyrics and great layering done by the bass and guitar. A complex riff is played on the guitar, and the bass accompanies it on the occasional off-beat. It gives the track great depth, but it’s hard to know when that depth will come. [4/5]
‘I Don’t Fear Hell’: A hardcore and glum title is given a hardcore and glum instrumental as we ease our way into this album’s finale. As has been the case throughout, layering and drum fills are sporadic and hard to keep track of, but that only adds to the charm of the music. This eery closer is the perfect way to see out To All Trains. [4/5]