IN REVIEW: Algiers - "There Is No Year"

In five short years, Algiers (based officially in Atlanta, with members who also call New York City and London home) have positioned themselves at the forefront of indie rock, with a pair of powerhouse records and a snarling, punk-inspired outlook that inspire thought and action. Their third record brings with it heightened stakes and expectations, as legions of fans and critics alike were curious to discover how far the promising young group were willing to push their sound and their message.

At first blush, there are some rather noticeable differences to be heard on There Is No Year, and they can be a little difficult to digest for fans of the jagged guitars and fiery revolutionary soul that highlighted their 2015 self-titled debut and 2017's true critical breakthrough The Underside of Power. While the heart of the music is more or less intact, synths are playing a much larger role here, from the opening stabbing notes of the title track and throughout the album; likewise, Matt Tong's beats are heavily processed and frequently minimalist, making it easy to forget that before joining Algiers he was the driving percussive force for Bloc Party. It feels like his talents are partially wasted here.

Of course, Algiers' most potent weapon has always been the voice and words of Franklin James Fisher, and he is in top form on There Is No Year. His lyrics and deliveries are usually more than enough to make up for any musical missteps that are taken (although even a typically inspired performance from him can't save the woefully cheesy sounding Chaka). More often than not, he injects passion and tension into songs that wouldn't be nearly as affecting without him. Lead single Dispossession, for example, is a really good gospel-tinged song that could have been made by several inferior bands to mostly the same effect, but his performance elevates it to the point of greatness. He's even more noticeable in the quieter moments, such as the sparse, Massive Attack-recalling Losing Is Ours and the stark Wait for the Sound, the latter of which features a closing minute vocal performance that borders on the transcendent. Perhaps the album's most successful experiment is We Can't Be Found, a song that seems to bring all of their influences together effortlessly and really displays what this group is capable of.

By delving deeper into their new wave influences, Algiers could divide their fan base somewhat with There Is No Year. However, where the music may be glossier and more subdued, the overall aesthetic remains just as effective as a mirror to our modern society; dark, angry and full of fear. For those who dare to look beneath the surface, there are still plenty of reminders of what has made this band a force to be reckoned with.

January 17, 2020 • Matador
Highlights Dispossession • Losing Is Ours • We Can't Be Found

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