The Picturebooks - 'Home is A Heartache' Hot

Added by Central Electronic Brain     July 30, 2017    
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It's prowling but bold, drawn-out but intense, and full of a heady, Industrial spirit.

'Home Is A Heartache' is a slightly grimy (in all senses of the word) nugget of paired down, full-throated, rustic Rock. I hesitate to use the word "Blues" because while there are elements of it, The Picturebooks are altogether more tribal than anything you can neatly categorise, in a good way.
'Seen Those Days' is a short intro, acting as the listener's window into the band's garage where they recorded this fourteen track sophomore album. It is, incidentally, also where they pursue their other hobbies of motorbikes and skateboarding.

The sound has a fantastic rawness, from the Hozier-esque title track to the slow-burning distortion akin to Jack White on 'Fire Keeps Burning'. 'Wardance' is a testament to the band's ability to create images with their music. It opens with thundering drums, just like a war march, but it is atmospheric – think the opening of a rugby match with a chest-beating emotion to it. Vocalist Fynn Claus Grabke howls and oozes his way through a variety of vocal deliveries from velvet crooning on 'I Came A Long Way For You' to the blunt and catchy 'Zero Fucks Given'.

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The tracks are sharp and to the point. They're not about melodies or sing-along choruses, but rather about stirring textures and grinding out notes and beats. The depth of sound they achieve through guitars and drums (there are no cymbals) is gorgeously rich. 'Get Gone' is punchy and paired back until the guitar steps up from its moody rumblings and the bells bring a light treble edge. An Industrial sound pervades the sound but there is an airiness, as if you are really stood in a warehouse-sized garage and hearing the music reverberate.

'Bad Habits Die Hard' captures the dark charisma of the band, almost like a roughed up glamour; there's breathy gasps and a waltzing guitar just waiting to let rip. 'Heathen Love' is similar in the wildness of the music; it's not just that the band used modified instruments to create their sound but that their tracks stray all over, building and falling away, yet all the time underscored by the throbbing rhythm section from Phillipp Mirtschink. The variety is both unpredictable and defining.

'Home Is A Heartache' has a lip-curling dark sort of charm about it. It's prowling but bold, drawn-out but intense, and full of a heady, Industrial spirit.

Sophie Brownlee

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