Departures have come a long, long way in the last six years. Meticulously honing their craft though several impeccable EPs and extensive touring, this Glaswegian five-piece have finally planted their LP flag for the third time with the monumental ‘Death Touches Us, From The Moment We Begin To Love’.
Now, despite being ten words too short to match the pretentiousness of The 1975‘s brilliant yet wanktacular sophomore album, Departures actually warrants the extra syllables in this album title because it has true honesty and human sincerity behind it.
Although you’d be forgiven for thinking the opening 20 seconds seems all too familiar to Take That‘s hit single ‘Greatest Day’, the rest of the album is nothing short of brilliant, complex and most importantly, honest. From conception to demise, this album is wall-to-wall bloodied-throat-screaming over earnest, passionate guitaring held together with a diligent, dedicated rhythm. This is melodic hardcore at its finest.
A bold statement, but this is an album that simply demands your attention. One that you consciously have to make time for and immerse yourself into. Like how the fumes from a gorgeous scotch draw you into the tumbler laced with the enticing flame-kissed liquid so shall the emotive, savage artwork of this album beckon you to listen.
While the album is drenched, nay, saturated in raw, painful emotion, it isn’t the same cathartic exorcism of torment and vitriol that La Dipute‘s ‘Wildlife’ had, and though an album should be consistent in a theme, Departures are just almost too diligent in sticking to the party line and, as a consequence, have made an album that’s slightly lacking in versatility and variety.
And, yes, there’s the argument that if the song quality is high and every single track sounds amazing then who the fuck cares if it’s *deep breath for exaggerated air quotes* “samey”? But, this valid statement can be countered with The Chariot‘s ‘One Wing’; a plethora of genius in many forms, the magnitude of brilliance held in a single track on that stunning album is only amplified by the difference between them. So, when held to the same insanely high standards, Departures are certainly in the same league as La Dispute and The Chariot, but are hovering around the mid-table position rather than dominating the top.
Ten heart-wrenching and harrowing tracks, each brimming with sensational musicianship across the board, ‘Death Touches Us, From The Moment We Begin To Love’ is one of the few events in a year that simply cannot be ignored.
Written by Andrew Roberts (@sassensquatch)
Founder & Editor for DEAD PRESS! | Atheist and antitheist. | Judge of the quick & the dead since 1989. | Aspiring freelance pizza eater.