Review:

on 2011-08-24 CharlesMartel Said:

I have often heard of British post-punk bands referred to by American and Canadian friends as being part of the Second British Invasion. It is a term I never much cared for, but it perhaps indicates that the style of music pioneered by Joy Division and the Cure, and followed up by bands such as the Smiths, the Chameleons and the Sound, had few contemporaries in America at the time. Indeed, most of what could be called post punk from America dates from the latter half of the 1980s when the genre was already fading in the UK.

As a result, few American post punk outfits have made much of an impression. However, in many cases that can be ascribed to a similar malaise affecting them as affected many of their counterparts across the Atlantic - obscurity. For Against is one such example. Released in 1988, "December" is rightly regarded as their high point. But it is also a fine post punk album in its own right and deserved a much wider appreciation than it got at the time. Now reissued, following a reunion gig by the band in 2005, it is to be hoped that "December" may get a better crack of the whip than it managed when originally released.

In many ways, it is an album ahead of its time. Although unmistakably post punk, there are certainly elements of the shoegaze-dream pop which was beginning to emerge on the UK scene at the time. It has a curious mixture of aggressive, strongly rhythmic elements intertwined with some atmospheric, dark and sometimes laid back textures. The opener, "Sabres", kicks off with a powerful display of drumming over which singer Jeffrey Runnings delivers some dark, almost sinister lyrics.

This song sets the tone for the rest of the album. Indeed, "December" is a display of consistency which is rarely found in post punk albums of any era. "Stranded in Greenland" is an early highlight, with the guitars weaving some classy lines across the steady rhythm. My favourite track, "They Said", may be a bit slower than many of the others, but has some of the best and most apposite lyrics and guitar melodies on the whole album.

Indeed, guitarist Harry Dingman deserves a lot of the credit for the way that this album sounds. His guitar is always the most dominant instrument without ever being overpowering or giving into to misplaced displays of virtuosity. This is the hallmark of a great post-punk guitarist, and the way the guitar moves across tracks such as "Svengali", where it engages in a counterpoint with the bass which, at times, is reminiscent of Peter Hook of Joy Division vintage. High praise indeed to compare any post punk album with Joy Division without criticising it for mimicking them.

The closing track, "Clandestine High Holy" combines many of the best features of the rest of the album, cascading chords, thumping drums, distinctive vocals and clever basslines. By the time you reach this point, however, you begin to suspect you have heard this before. Indeed you have. If you have "Turn on the Bright Lights" or "Silent Alarm" then you have found the link. It is truly a pity though that two bands - one British one American - have resurrected a sound from 15 years before their time and used it to propel themselves to a level of recognition its originators never achieved. Such is the way of so much great music of the past. But I suggest you do yourself a favour. Check out "December" before you buy either of those aforementioned albums. You might find you have saved yourself a couple of unnecessary purchases.
Rating: 8/10