Klammer – The Day Before Yesterday

With an instinctive appetite for post punk we have found it lustfully coming to the fore as many notable encounters forged in its depths have been recently unveiled. Now it is getting another shot of adrenaline with the new album from UK outfit Klammer, a release which sees the band’s already captivating and acclaimed sound brewing even greater potency and creative prowess.  

The Day Before Yesterday is a collection of tracks which embrace a far richer host of favours than that simple post punk tagging suggests. Klammer draw on everything from goth and punk rock to dark rock for their post punk seeded invention, creating adventures in sound and enterprise which go to make the release their finest, most accomplished offering yet.

Since Leeds-based Klammer was formed by producer Steve Whitfield (The Cure/The Mission/Jane Weaver) in 2014 it has released a trio of full-lengths which have increasingly garnered eager support and acclaim as the band’s sound has grown and evolved, it backed by a live prowess and presence which has seen the quartet share stages with the likes of The Skids, The Undertones, Richie Ramone, Chameleons Vox, Penetration, The Membranes and Ruts DC over the years. This has also only escalated their reputation meaning intrigue and anticipation once The Day Before Yesterday was announced was inevitable.

As suggested it reveals, even though their sound has always been a host of atypical prowess and imagination, the band’s most flavoursome and compelling songwriting and its realisation to date. In some ways, the band has calmed their boldness in unpredictability to enrich their dexterity in weaving emotive drama fuelled by pop rock virulence. The reality though as your explore the release is that The Day Before Yesterday is as adventurous as anything before but cast with a new assertion in craft and imagination.

As thickly individual as it is there is a great slightly nostalgic Southern Death Cult meets Gene Loves Jezebel meets Modern Eon hue to certain aspects of the release as soon unveiled by opener Pass The Test. Even more firmly and potently though the song bears Klammer’s indelible individuality as a badge, distinct lures of guitar and bass inviting ears to the song’s waiting, emotion tempered stroll. Paul ‘Poss’ Strickland’s vocals swiftly join the temptation, bringing their own strength of presence and temptation to the song’s. The continuing sways and vines of Steve Whitfield’s guitar only tightened the growing grip on ears and attention, the track’s inherent catchiness involving body and spirit.

 The great start is reinforced by I Really Really Want To Believe which as quickly laid down its ear gripping authority in presence and sound. There is an instinctive emotive breath and tension to the album’s music which Strickland embraces in his eventful delivery with the composure and tone of Mike Addy’s bass just as compelling.

Progress (or the lack of) bears psych rock radiance to its post punk chill, the rhythms of drummer Bruno Almeida a nagging jab beneath the intoxicating skies of the song. Though the album had already ignited the passions, a first favourite song candidate was staking its forceful claim, whispered menace and anxiety lined melodies adding to its predacious pull on the imagination with an Inca Babies-esque essence only escalating that captivation.

It was not long though before rivals to that best song choice turned up, the edaciously catchy Broken Dreams In A Crashing Car immediately stating its case with an espionage of enterprise and creative hookery within Thompson Twins like infectiousness with While You Sleep sharing a dark and haunting realm of sound and intimation which simply enthralled and left a pinnacle in a range of creative peaks.

The varied character and endeavour of the album was firmly established by this point and only pushed further as The Blind Leading The Blind and The Insider offered up their respective sunless reflection and fiery trespass. The first is another mix of haunting sound and caliginous beauty within a portentous embrace, a delicious menacingly nagging yet hypnotically inviting manipulator and the second a ferocious but respectful rock ‘n’ roll incursion with its own fateful glacial pastures of melodic suggestion. Both songs compelled eager involvement but were slightly eclipsed by A New Direction, a song merging a sense of familiarity with a surge of unique enterprise which never leave ears void of fresh enterprise around Addy’s gripping bassline.

Through the glorious clamorous drama and contagion of The Mission scented Oblivion, the following I Wish I Could Bring Back with its melancholic but enlivening declaration and the equally emotionally and creatively charged Heartworm there was no lessening of our increasingly lustful enjoyment with the album, which Limbic Pastime reinforced with its spirited heart and equally energetic virulence which carried something of the synth pop days of Ministry to it.

Brought to a close by Alone and its intimate shadows within another landscape of fertile textures and expressive heart, The Day Before Yesterday proved a fascinating and quickly addictive proposition. It’s every second and moment of invention had us eagerly involved, Klammer demanding and earning unbridled attention with their heady songwriting and sound to give the richest rewards in return.

The Day Before Yesterday is out now via Heavy Metal Records; available @ https://www.amazon.co.uk/Day-Before…/dp/B09SPZBLLQ

https://www.klammer.co.uk   https://www.facebook.com/klammerband   https://twitter.com/klammerband

Pete RingMaster 03/03/2022

Copyright RingMaster Review



Categories: Music

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