rolo tomassi - hysterics

There’s an intellectual aspect to the way in which these songs are constructed, but it’s joined by a welcome sense of joviality at this whole ‘genre’ debate.

Prog, prog-jazz, jazz-rock, prog-core, prog-punk, ignore all of it. The guitar lines on ‘Fofteen’ (after an initial hefty pummel) are curiously amusing, and probably what jazz sounds like to young and angry ears – bolstered by the band’s decision to then heavily distort a second utterance of the melody.

Genres aren’t exactly skipped through in Mirrored-like fashion, but the freedom with which Rolo Tomassi run amok in their own personal soundworld is quite cheering.

Stylistic misjudgements creep in occasionally, probably the only thing negative about the band’s relative inexperience. For example, Eva Spence’s soft vocals on ‘Macabre Charade’ are charming enough, but there’s no need to add grace notes as she slides around the melody. It detracts from the cute, atonal melody and, for a few moments, reminds you that you’re listening to people who’ve walked the same earth as you. Music as intentionally abrasive as this should make all efforts to create its world and never let an audience see what it’s thinking.

The only other mis-step is the token ‘we’d better have at least something quiet in there’ of ‘An Apology To The Universe’, but that’s an easy trap to fall into. Sonic diversity, while often one of the more powerful tools in a band’s arsenal, is not the right thing to hear at that point of the record.

These niggles aside, though, ‘Hysterics’ is tremendous fun and a brainy mission statement from a band who, when in their own little world, are absolute individuals.