{"id":67761,"date":"2018-07-24T16:00:33","date_gmt":"2018-07-24T15:00:33","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=67761"},"modified":"2018-07-23T19:42:16","modified_gmt":"2018-07-23T18:42:16","slug":"review-death-and-the-penguin-anomie","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/review-death-and-the-penguin-anomie\/","title":{"rendered":"Review: Death And The Penguin – Anomie"},"content":{"rendered":"

\"Death<\/p>\n

Five\u00a0years into their career, eccentric London math-rockers Death And The Penguin<\/strong> are finally gracing us with their debut album. They\u2019ve dropped a pair of absolutely wonderful EPs in recent years, subverting the expectations that come tagged with their genres to make a name for themselves as some of the smoothest songwriters out there. Now with \u2018Anomie\u2019,<\/em> they look to cement that status.<\/p>\n

Some of their most defining features float at the foreground of this album. Their creative side glitters, from the chanting and pacing rhythms of single ‘Kill Saatchi’<\/em> and its anchored chorus, which balances out the sparkling riffs and catchy verses. They confidently test how far they can take a more traditional rock structure while mixing in experimental ideas and less radio-friendly elements.<\/p>\n

Meanwhile, follow-up track ‘Space 1998’<\/em> explores their more atmospheric realms. From thumping basslines to playfully tapped guitar melodies, it\u2019s a cross of cosmic sound and technical comradery. It plays fast and loose with its concepts while doubling down on their mood-building, which forms what could be described as the British lovechild of Tool and Dance Gavin Dance.<\/p>\n