Source: Album ArtWith the second anniversary of their Mercury Award win fast approaching, indie-swats Alt-J have returned with their sophomore record ‘This Is All Yours’. 2012’s An Awesome Wave was welcomed by the open ear of an audience conditioned by the current online climate, an audience craving a band with a sound reflective of its surroundings. And in the same vein that Radiohead were ahead of their time with what, for the 90s, was a forward thinking ensemble of hi-spec sounds, you could say Alt-J are perfectly in-sync with their era; the nerd nucleus of their cell perfectly relatable to the new-age listener.
‘This Is All Yours’ still reaches transcendence through the digital heartbeat of Alt-J’s wide-ranging samples, but whilst it was quite noticeable in the soundscape of their debut that it had been composed in the enclosed conditions of their student halls, this album encapsulates the freedom that comes with success; adding a more rural element to their music. Nara, a Japanese city which allows Deer to roam free in its central park, is referenced in three of the album’s tracks ‘Arrival In Nara,’ ‘Nara’ and ‘Leaving Nara’, this a metaphor for the band’s new found artistic freedom. Serene piano lines are perfectly complemented by Joe Newman and Gus Unger-Hamilton’s hymn-like vocals in their arrival to the city’s gardens, with the buzzing of a wasp leading in to calls of ‘hallelujah’ in ‘Nara,’ this holy praise welcoming that signature deep electronic rumble – welcoming the album’s darker side.
After this come ‘Every Other Freckle’ and ‘Left Hand Free,’ two of the album’s singles. ‘Every Other Freckle’ is shadily defiant. Newman first vows to “turn you inside out and lick you like a crisp packet” before the chorus echoes “devour me” but only “If you really think that you can stomach me,” showing a promiscuous side to Newman’s lyricism that has him come off a far more cunning character than ever before. His playful lo-fi vocals are backed up by a tasty garage-blues riff in ‘Left Hand Free,’ making for a more traditional rock n roll tune in terms of its technicality; leaving us with easily the catchiest track of the album.
Things get a bit more tranquil for the remainder of the album; more bird sounds and less electronic growl. ‘The Gospel Of John Hurt’ and ‘Bloodflood Pt.II’ are delicate pieces – a perfect display of what an emotive tone the band are capable of producing. ‘Hunger Of The Pine,’ another single off the album is brilliant, showcasing just what the band are about – unpredictable surprises. They lead you slowly into an atmospheric landscape, make you believe you know the route they’re taking before out of the darkness comes Miley Cyrus stating “I’m A Female Rebel.” And there’s not even a moment of cringe, no split second of ‘what’re they playing at?’ it just works. Plain and simple – another prime example of the band’s expert selection of outside influences with samples of Bill Withers and KRS-One feeling just as comfortable in their surroundings at other points in the album. This fearless utilisation of their eclectic cloud of influences – be it computer-inspired or stemming from their parents’ record collection, is what gives Alt-J that extra something; this outing not quite as accessible as ‘An Awesome Wave,’ but certainly a worthy follow-up.
