Formed in 2015 by James King (vocals, guitar), Mark Hudson (bass), and Toby Warren (drums, percussion, vocals), Oxford alt-rock/post-hardcore trio Civil Villains have slowly and steadily built their glowing reputation on compelling live performances and a meticulous approach to songwriting that challenges genre boundaries. They released their debut album `Motion Sick` in 2023 and release their latest album `A Sleeper, Underneath` this month with the album’s title coming from the line “A sleeper, underneath which my flower grows”—a nod to transcendentalist writer Henry David Thoreau’s classic book Walden, in which he describes the arrival of the railroad and each sleeper—”each wooden tie”—as a person being crushed or trapped under the weight of progress.
The album begins with `Never Felt Better` an initially gentle introduction before it explodes into life and the frustration really surfaces. A seemingly sarcastic musing that may be about how trying to conform as demanded didn`t really work out. It really brims with fury in the final minute. We have further sardonic social commentary with `High Achievers` questions like “Did you expect applause? Your place amongst the stars? Do you regret your choice?.” Again towards the end there`s a sense of bitterness and anguish.
`Second Guess` is fairly reflective suggesting taking time to think before acting with a soundscape that reflects a sense of uncertainty. Again there`s a sense of unease and uncertainty with `Horehound` whose title is a flowering plant used as a medicine or digestive aid renowned for its strong respiratory support and is possibly used here as a metaphor. The number is full of complex riffs and a repeated threat of `I`m Not Done” which permeates this offering.
I read that `Shadow Weight’ is a song of two parts, part eulogy and part dream-state. The title generally refers to two distinct concepts: a literal, subtle physics phenomenon involving light pressure, or a figurative, emotional, or artistic burden. It opens gently with a strummed acoustic guitar and is charmingly meditative. It retains that sense of attraction throughout it`s lifespan. The term `Punching Down` usually describes critical comments about marginalised or less powerful groups and here it may be a kick back from the view of the disenfranchised. Musically it`s delightfully jagged with enticing angular riffs.
The brief instrumental `Telegraph` has a fascinating intricate string arrangement, rolling percussive tones and as the title suggests could be a vessel for the transmission of messages. Ostensibly ‘Come Home’ is about wrestling with the creative process itself and is saturated with anger, dissatisfaction and annoyance and takes off on a melodic driving rhythmic journey at the midpoint but they are some sharp twists and turns along route on this curious trip.
`Knives Of Ambition` appears to be absorbed with mortality and reeks of disappointment and unhappiness at what unobtainable desires may lead to. There`s a cadenced drum beat to `Crosstalk` which equates to unwanted interference, signal leakage, or simultaneous, chaotic talking. A pensive musing on differing views and directions.
The final cut `Canvas Stretcher` would usually signify pulling, securing, and tensioning a canvas for painting and here its maybe a metaphor for structure, tension, and the necessary support behind creative or personal development. A wavering quite dreamy composition.
`A Sleeper, Underneath` is a wonderful conundrum of an album, an enigma of sorts. It`s loaded with angular guitar chord riffs, dynamic structures, and rhythmic unpredictability. Art rock, progressive rock, math rock , who knows maybe a blend of each. It`s an almost overwhelmingly absorbing, engaging, and engrossing listen which i`m sure will offer something different each occasion you return to listen.
Rating 9/10
