Regular readers of the music section will have noticed quite a bit about Spring Offensive from me this term and while I apologise for such a deluge, I assure you they really are more than worthy of the coverage. Self-released and funded by an ingenious Pledge Music campaign, the Oxford quintet’s debut Young Animal Hearts has been a long time coming and die-hard fans will appreciate older favourites holding their own amongst some stunning new material.
Thematically, Young Animal Hearts will resonate with the bands 20-something peers, encompassing the post-student worries of dead-end jobs, financial grievances and identity crises. With the band members themselves experiencing many of these issues first-hand, the songs have a credibility and conviction that is overwhelmingly emotive. Lucas Whitworth and Matt Cooper’s lyrics balance simplicity and poetic imagery perfectly, with narratives that are both beautifully articulate andintellectually accessible – an irresistible mixture that makes the album highly relatable. The defiant, chanted refrains found on tracks such as ‘Speak’ and ‘No Assets’ draw you in deeper, subconsciously catchy and bizarrely euphoric given their morose subject matter.
Such an odd juxtaposition of dark, melancholic lyrics with exhilarating, uplifting melodies has led to comparisons with bands such as The National and Death Cab For Cutie. The intensity of the emotion is certainly equal to that portrayed by Berninger and co. but the jolting rhythms and mesmeric blend of vocals feel less polished, rawer and more intimate.
While musically complex, the album has been meticulously arranged to ensure every instrumental layer gives something to a track. There’s no flamboyance or pretension and their characteristic intricate percussive patterns and striking harmonies remain at the core.
The flawless ‘Not Drowning But Waving’ opens, its eerily unsettling guitar hook providing a relentless undercurrent on which the percussion and harmonies build – steadily brewing like the storm depicted – to a thunderous crescendo. Staccato synths punctuate the clipped vocals on the more instrumentally sparse ‘Bodylifting’ and clapped rhythms on ‘The River’ and ‘Carrier’ provide a similarly punchy beat that both lifts and drives the brooding libretto.
This unsuppressed vigour and energy in the face of hardship tires only in the final tracks ’52 Miles’ and ‘Young Animal Hearts’. Slowed down and more subdued, they convey a wearier resilience and while still hopeful in outlook, express a resignation to the trials of modern life and an acceptance of our innate human nature.