Youth Group - SkeletonJar

Thu 21st Jul, 2005 in Music Reviews

If you haven’t already heard the name Youth Group being appreciatively thrown around the traps, there’s a no doubt you will very soon. The Sydney four-piece have been doing their collective best to woo overseas as well as local audiences, and it appears they have been very successful. Skeleton Jar, which was released in the US in 2004, has been re-released in Australia to coincide with the band’s national tour. The new edition contains the previously unreleased Someone Else’s Dream and has been receiving some extremely encouraging responses, particularly in the States.

And it’s no wonder. Skeleton Jar is virtually flawless – an agonisingly beautiful collection of gut-wrenching vocal melodies, obsessive-careful arrangements and perfectly placed percussive flourishes. It may not be as immediately hook-driven as the intricate soft rock of Coldplay or Doves, but somehow this insidiously creeps up on you, latches onto the emotive region of your musical awareness and refuses to let go.

Album opener Shadowland has received some notable airplay on Triple J in recent months, so you will probably recognise the strong vocal melody. Beginning with the stubborn beat of a snare drum and vocals, Shadowland progresses into a shimmering pop-rock delight, frontman Toby Martin’s vocals arching and beautifully clear above the carefully-constructed mess of guitars and drums.

The follow up of the title track is no less immediately enthralling. Here the band manage to sound more affecting than Coldplay and far less calculated than other emotive pop-rock comparisons. The tentative guitar strumming complements Martin’s pleading vocal style, while the climax provides the perfect amount of raw energy to keep the track’s dynamics alive.

Lillian Lies sounds like something you’ve heard before, and something you loved when you heard it. A comforting sense of familiarity, rather than a re-hashing, accompanies the track. Ringing tambourine and shimmering guitar chords give the song a slightly gypsy feel, while the muted guitar solo firmly places Lillian Lies in the classic song category.

On a more subdued level comes See-Saw, a whirlpool of guitar canons and a barely-detectable rhythm section. It doesn’t take long for the intensity to be upped though, the chorus bringing the song to a gallop and bringing the guitars back to the front of the mix. Martin’s vocals take on a Brian Molko whine of imploration before the crashing of the chorus is reduced to a swirl of cymbals. One more peak of instrumental noise and the ride is over.

I would say Last Quarter is an album highlight, but that’s a tough call with the number of outstanding tracks. An infectious vocal melody dominates the track – Martin’s lead accompanied by a Frank Black-maniacal muffled scream – while driving guitar riffs solidify the powerful rhythm. Even by the second listen, you want to sing along as though this has been a favourite for years. Some powerful drumming holds all the elements together and the pounding drumrolls at the end are a much-needed touch.

The special addition of Someone Else’s Dream showcases Martin’s uncanny vocal resemblance to James vocalist Tim Booth. Funnily enough, the song even sounds British, a gloomy essence oozing from the skittering rhythm and frantic changes in melody. Martin’s vocals are mahogany-rich, while the changes in guitar technique are flawless.

Bringing up the rear – and a nice choice for lingering last impression – is Piece of Wood. A xylophone accompanies the vocals with China doll delicateness and the lead guitar provides a soothing cyclic progression. Martin’s vocals are fractured and soft, yet crystal-clear. It’s only a brief interlude but it’s a fantastic conclusion to the emotional rollercoaster this album takes you on.

I feel ashamed that I missed this album the first time around. Now I feel that my only chance at redemption is to advise you to listen to Skeleton Jar three times before making any decision. Don’t say I didn’t warn you though – chances are you’ll end up with a narcotic-strength addiction like everyone else.