Anchor Lane – Call This a Reality?
Fair to say Glasgow rockers Anchor Lane – a touted ones-to-watch act who have proved to be just that – came out of the Covid-19 pandemic a changed band.
Of course the virus wasn’t responsible for the personnel changes or shift of musical direction, but it scuppered the band’s chance to build on their excellent rock-metal debut album Casino (a Top 10 UK Rock Chart success), which allowed for the chance to take stock, hone the songwriting skills and refocus.
Three years on from Casino Anchor Lane are a more Indie styled act and, at least for the time being, a leaner three-piece, featuring Conor Gaffney (vocals), Lawrence O’Brien (guitars) and Graeme Newbury (drums), who joined post-Casino in 2021.
The result, in the company of producer and fellow Glaswegian Bruce Rintoul (a man who knows a thing or five about producing a big sound, cultivating that Indie vibe and creating clever arrangements) is Call This a Reality? an album that showcases the new look/ new sounding Anchor Lane.
Indeed anyone not overly familiar with Anchor Lane could be forgiven for thinking this is a different band to the one that recorded Casino, particularly evident through the new-found vocal confidence (stronger tonal and phrasing deliveries) from Conor Gaffney, heard from the off on the sharp beat, choppy guitars and swagger of 'Stutter.'
(Graeme Newbury’s up-front attack on the kit is another significant change-up while the occasional vocal and guitar distortion treatments add further layering).
That "different band" analogy (although it’s more akin to a left turn onto Indie Street) is truly announced on following number 'Ministry,' an impressive track that manages to combine club/dance, metal and Indie rock whilst lyrically snapping at ministerial (in all its forms) sheep herding ("All you got to do is be the same as everybody else – put your mind in a state of disarray").
The bouncy, sound treated rhythm of the title track makes for another strong number, one that lyrically questions the reality of one’s situation, whether that be what’s going on in one’s headspace or current relationship.
'Nitroglycerine' is a little closer to what can be found behind the Casino doors (but, again, with a discernible Indie vibe) while the synth-textured backdrop applied to parts of the pacier 'I’ve Been Waiting' add dance-rock appeal.
'The Mischievous Song' is just that, a cheeky, simple-beat number that features a flurry of "na-na-na-na-na-naa"s, a wicked, sound-treated guitar solo from Lawrence O’Brien (who delivers his most creative licks and riffs to date) and short, double-time finish.
Similarly Indie pop in style (and annoyingly infectious) is the faster-paced 'Electric Karma.'
'Choke' is the quick-fire Indie-punk equivalent of Casino’s 'Fame Shame,' here sporting a lyric that speaks of a somewhat toxic relationship ("Choke and we choke, belong together like a flame and smoke").
The downtempo 'Bitter' (another with a relationship lost’narrative) then provides slower, atmospheric contrast ("I can't believe this love has died, I always thought that we would be friends"); as such it becomes a highlight of the album.
It’s also worth mentioning track-length at this juncture; the album delivers on a perfectly weighted three-and-a-half minute song average (only one number sneaks over four minutes) plus short instrumental 'The Static,' which acts as intro to the most interesting song on the album, 'Sychophant Disorder.'
The latter, a sonically textured dark rock meets metal number that highlights a great understanding of dynamics, is complemented by a particularly biting lyric, which would explain the title misspelling of sycophant (with the h, sychophant better conjures the idea (and pronunciation) of a ‘Psycho’phant ).
On the other hand, it’s probably just a spelling boo boo.
The lyrically anguished 'I Don’t Have Another Soul to Pour' (another relationship buster – "I've been wasting time, with you on my mind") makes for a powerful album closer, but is so on the Foo Fighters money that Dave Grohl may well be checking his hard drive archives to see if he came up with it first...
Of course the virus wasn’t responsible for the personnel changes or shift of musical direction, but it scuppered the band’s chance to build on their excellent rock-metal debut album Casino (a Top 10 UK Rock Chart success), which allowed for the chance to take stock, hone the songwriting skills and refocus.
Three years on from Casino Anchor Lane are a more Indie styled act and, at least for the time being, a leaner three-piece, featuring Conor Gaffney (vocals), Lawrence O’Brien (guitars) and Graeme Newbury (drums), who joined post-Casino in 2021.
The result, in the company of producer and fellow Glaswegian Bruce Rintoul (a man who knows a thing or five about producing a big sound, cultivating that Indie vibe and creating clever arrangements) is Call This a Reality? an album that showcases the new look/ new sounding Anchor Lane.
Indeed anyone not overly familiar with Anchor Lane could be forgiven for thinking this is a different band to the one that recorded Casino, particularly evident through the new-found vocal confidence (stronger tonal and phrasing deliveries) from Conor Gaffney, heard from the off on the sharp beat, choppy guitars and swagger of 'Stutter.'
(Graeme Newbury’s up-front attack on the kit is another significant change-up while the occasional vocal and guitar distortion treatments add further layering).
That "different band" analogy (although it’s more akin to a left turn onto Indie Street) is truly announced on following number 'Ministry,' an impressive track that manages to combine club/dance, metal and Indie rock whilst lyrically snapping at ministerial (in all its forms) sheep herding ("All you got to do is be the same as everybody else – put your mind in a state of disarray").
The bouncy, sound treated rhythm of the title track makes for another strong number, one that lyrically questions the reality of one’s situation, whether that be what’s going on in one’s headspace or current relationship.
'Nitroglycerine' is a little closer to what can be found behind the Casino doors (but, again, with a discernible Indie vibe) while the synth-textured backdrop applied to parts of the pacier 'I’ve Been Waiting' add dance-rock appeal.
'The Mischievous Song' is just that, a cheeky, simple-beat number that features a flurry of "na-na-na-na-na-naa"s, a wicked, sound-treated guitar solo from Lawrence O’Brien (who delivers his most creative licks and riffs to date) and short, double-time finish.
Similarly Indie pop in style (and annoyingly infectious) is the faster-paced 'Electric Karma.'
'Choke' is the quick-fire Indie-punk equivalent of Casino’s 'Fame Shame,' here sporting a lyric that speaks of a somewhat toxic relationship ("Choke and we choke, belong together like a flame and smoke").
The downtempo 'Bitter' (another with a relationship lost’narrative) then provides slower, atmospheric contrast ("I can't believe this love has died, I always thought that we would be friends"); as such it becomes a highlight of the album.
It’s also worth mentioning track-length at this juncture; the album delivers on a perfectly weighted three-and-a-half minute song average (only one number sneaks over four minutes) plus short instrumental 'The Static,' which acts as intro to the most interesting song on the album, 'Sychophant Disorder.'
The latter, a sonically textured dark rock meets metal number that highlights a great understanding of dynamics, is complemented by a particularly biting lyric, which would explain the title misspelling of sycophant (with the h, sychophant better conjures the idea (and pronunciation) of a ‘Psycho’phant ).
On the other hand, it’s probably just a spelling boo boo.
The lyrically anguished 'I Don’t Have Another Soul to Pour' (another relationship buster – "I've been wasting time, with you on my mind") makes for a powerful album closer, but is so on the Foo Fighters money that Dave Grohl may well be checking his hard drive archives to see if he came up with it first...
Given how well received Casino was, and how loved Anchor Lane are by Scottish rock fans (most of whom have followed them from the first gigs get-go), there was an inevitability to the initial rash of "perfect," "superb," "so much better than the debut" review commentaries along with, perversely, the occasional "unsure" overview from those who would rather have Casino Part 2.
Hence why FabricationsHQ waited for the dust to settle before putting digital pen to on-line paper to confirm that while this isn’t the greatest Indie rock album you’ll ever hear (nor could it be, given those of pedigree that have set the Indie standard and delivered a classic or three over the decades), it’s a seriously impressive, post-Covid statement of Indie intent – one that hints at the promise of even bigger, musically bolder and better things ahead.
Anchor’s away – again.
Ross Muir
FabricationsHQ
Hence why FabricationsHQ waited for the dust to settle before putting digital pen to on-line paper to confirm that while this isn’t the greatest Indie rock album you’ll ever hear (nor could it be, given those of pedigree that have set the Indie standard and delivered a classic or three over the decades), it’s a seriously impressive, post-Covid statement of Indie intent – one that hints at the promise of even bigger, musically bolder and better things ahead.
Anchor’s away – again.
Ross Muir
FabricationsHQ