The Young Republic – Balletesque
In many ways this actually feels like the first Young Republic album. Their debut, 12 Tales From Winter City was essentially a compilation of earlier self-recorded EPs and as such was more of a cobbled together Best of So Far.
Then they released the Idiot Grin EP which just never really floated my boat, despite some excellent songs. That mirrored a band going through something of a rough time – losing members, internal strife and all sorts – which didn’t seem to stall them as much as it might have.
They kept touring through all this, and it was on seeing them live in Edinburgh last year that it became clear that for all the pain of the transition itself, these ructions would probably prove to be good for the band in the long run. If you want to hear their take on, just listen to Tough Year (Hard Waltz) at the end of this album.
So, a year and a new album later, where are we? Well it all feels right, that’s for sure. Unlike with Idiot Grin, they sound like a band in the right place, just for themselves as much as anyone else. This album has a unity and a purpose which suggests that they have embraced the band they have become, rather than the band they might once have been. Having seen them excel live I am tempted to suggest that they probably worked that out on stage as much as anywhere else; they are a great live band, after all.
It’s difficult to describe it in many ways, given it’s sort of a roustabout collage of various strains of Americana and rock ‘n’ roll all stuffed into the same package. There’s definitely a rock sound to the backline, there are gourgeous dramatic flourishes added by Kristin on violin, and Julian’s singing is bolder and more forceful than before.
The overall direction of the songs drift about between country and rock and some bits and pieces of other stuff as well, giving an album which is, as I said, something of a mish-mash of rock ‘n’ roll Americana with lots of different nuances to the overall flavour. Some of the songs stray too much into that rock sound for my personal taste, I must admit, because it’s just not a style of music that I’m all that keen on. But then there are brilliant songs on here like The Alchemist, Sam Clemens, Tidal Wave and the superb title track.
It’s a really enjoyable album though, and for all it may have been a rough road for the band in getting here, I hope they think it’s worth it because it certainly seems that way to me.
The Young Republic – The Alchemist
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The Young Republic – Sam Clemens
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This album has grown and grown on me. I liked it without loving it at first, but now I think it’s brilliant. Def top 10 of the year for me.
Did you see them on their recent tour. They’re a proper rock and roll machine now. I mean that in a good way.
I missed them unfortunately. They only played an in-store in Edinburgh and I couldn’t get off work in time.
This album has definitely grown on me in particular bits, but the songs which sound too much like traditional rock to me still haven’t really grabbed me. I’d imagine that seeing them live would change that a lot though.
I seen them in avalanche, and then got the record.
I was a little disappointed though, because when they played live they sounded like a country/americana band (a lot like [the now defunkt] Cherbourg, or something) more than ‘rock n roll stars’.
It was really dreamy sounding, with the lap-steel and the violins and the smaller drum kit. Really nice sounding.
Not that this isnt, I suppose it was just a transformation, like how Biffy Clyro change a song to suit it to a more ‘acousticy/playining-in-an-independant-record-store’ kind of thing, or something.
I don’t know, I really don’t.
I haven’t spent long enough with this album to really arrive at a judgement, maybe I’m reluctant to dismiss it, being more prepared to give it an extra shake of the stick, because of how much I loved 12 Tales…
I know that the earlier album was “cobbled together” in a sense, but that fact shouldn’t be allowed to suggest that it fails to hang together beautifully as an album, or to suggest that – as an album – it doesn’t provide a coherent experience for the listener. Played in sequence from track one to twelve it certainly doesn’t sound like listening to any sort of Best Of or compilation of singles and EPs. It’s a wholly rewarding and fulfilling experience, and a stand-alone work of art the band should remain immensely proud of.
I’m aware that Balletesque represents a deliberate and concerted effort to move on from 12 Tales…; not just in terms of the sound, but also in terms of time, location and canon. It’s a purposeful reinvention; a leaner, more focussed incarnation of the band.
Julian made some comments on here a while back which, along with eavesdropping on the conversation he had with Matthew at Cab Vol, it’s clear the band want to draw a line under Boston and re-emerge, renewed and reinvigorated, from Nashville.
I get all that.
It’s just that I haven’t yet heard anything on this album to match the heart-stopping sense of wonder that you can find in the best songs from the earlier record.
I’m not saying the band shouldn’t move on, I would encourage them to explore new musical directions, to avoid stagnating, and I would certainly advise them against trying to recreate anything of the previous album if that isn’t where their heart is any longer.
And perhaps it’s difficult for me to be subjective because, as I said to Matthew and Scott in a (admittedly drunken) conversation not long after it came out, <12 Tales From Winter City is what the music I hear in my own head sounds like.
But I haven’t heard anything on this new album that’s captured my imagination in the same way as songs like Blue Skies, Girl In A Tree, Paper Ships or the simply astonishing, bewildering majesty of She’s Not Waiting Here This Time.
Maybe there are other hidden treasures on Balletesque that will reveal themselves in time. I really, really hope so. Like I said, I fully acknowledge I need to spend more time with this new album.
Trouble is, if I’m in the mood for The Young Republic, and I often am, I’m still not tired of listening to their last album.
Yep, it’s good. Especially the cover art. I never really loved 12 Tales… that much to be honest. I really liked some of the songs on it, especially She Comes And Goes and She’s Not Waiting Here This Time, but I’m afraid I always did feel like it lacked coherence as an album (apologies Dylan). I like the new stuff better frankly. Got more balls.
Christ, that violin part that comes in at 3:45 on The Alchemist is gorgeousness incarnate.
There are definitely moments where I would describe their early stuff as a little tentative – not that I mean that as a criticism – but certainly not here. As you say, more balls.
I really love this album and for me the more I’ve played it the better it gets. I think most of the songs are really strong, but the layering of the instruments particularly the violins is pretty special throughout.
Even though they have grown up a bit they are still doing some fun covers in the live set. Ghostbusters on Halloween all dressed up was cool, but a note perfect complete Beatles rooftop set in Middlesbrough was staggering.
Oh And Bows in Your Arms is a stone dead classic in my head.
I’ve seen a few YouTubey versions of Ghostbusters actually – looks brilliant.
Tentative? 12 Tales…? The performances on that album are notable for their confidence and self-assuredness.
It’s still early days for me and Balletesque, but I think it might be that I’m not entirely buying into that new found ballsiness, possibly sounds a little forced and contrived. (That sounds harsher as a criticism that its meant to…)
C&B, love ya, man; but I don’t think we’re going to agree on this, as I actually think She Comes And Goes is just about the weakest song on 12 Tales... Not a bad song as such, just doesn’t approach the sky-scraping heights of the others.
Oh, and how would you pronounce it?
Ballay-esk or Ballutt-esk?
Or something else?
Actually, forced and contrived I really will disagree with. I may not like all the songs, but this does seem looser and more confident than anything they’ve done so far.
Are we listening to the same albums?
Although I still haven’t listened to Balletesque more times than I can count on one hand..
It’s Ballut-esk by the way
I would have thought that was fairly obvious. That weird stop in the middle of the word, if pronounced the other way, just sounds too odd to be the intent.
And Dylan, I think it’s clear from the comments that when you listen to 12 Tales you definitely are listening to something entirely different from everyone else!
I certainly think I hear something special in the work on 12 Tales… the less refined ear may well miss.
Oh, and being as you’re arguing for argument’s sake, it’s not at all obvious how it should be pronounced.
I believe TDG’s statement, but it’s easier to extrapolate a meaning from pronouncing the word with a silent T in the middle, as in something that’s a bit like ballet.
I’m struggling to figure out a meaning from the other pronounciation.
So there.
nitwit
The meaning from the other pronunciation is exactly what you just said, except not pronounced wrong.
“Ner-mer-ner-mer-ner-mer-ner-mer-ner-mer-ner-mer-ner-pronounced wrong..”
great version of them doing the ghostbusters theme in a shed here:
http://www.songsfromtheshed.com
I actually sound like I’m slagging off 12 Tales in these comments, which I’m really not. I’m just making fun of Dylan for his profound infatuation.
But joking aside, I still do think it’s a really good album.
The Songs From the Shed guy is a really nice bloke, incidentally.
Awww Shucks Matthew Thanks.
Can I add they were absolutely brilliant, despite being under pressure time wise, The weather was shit and they were knackered they turned up,set up and launched into an amazing 4 song session.
Our best session to date.