The Murder Capital emerged from the COVID-19 pandemic an entirely rejuvenated band, with a more contemplative, pensive sound to match the stillness of the lockdowns. The five piece's sophomore album is the result of this, and Alice Beard examines how this change manifests.
An ambitious departure from their cacophonous, emotionally charged debut When I Have Fears,
Gigi’s Recovery warmly embraces a new style for The Murder Capital. In frontman James McGovern’s own words, ‘recovery’ in the title references a ‘return to a place of strength’, a perfect reflection of the growth of the quintet. Spending two years chipping away tirelessly at an album would undoubtedly send any band into new realms of self-discovery, but there is a tangible sense of creative trust and concord interwoven in this record. The grace and newfound sense of expression in this offering marks a pivotal moment, yet the wound from their searingly raw debut still bleeds through.
Following opening track 'Existence', the macabre slow burner 'Crying' seeps in, serving up disjointed
electronic tones and staggered drums which lure us into this complex, multi-layered second offering.
The lyrics ‘I had to realign to begin to survive’ then open 'Return My Head' in recognition of what this
album represents to the band. The burning lust for a return to the chaos of live music is built with
the very best tension, its impassioned chorus and intoxicating riffs ensuring it is a tune that is
undeniably set for the stage. Bearing parallels to songs from When I Have Fears with its force and
endurance, this roaring track showcases the very best of each band member. Its structure is simple
in comparison to other tracks on the album, but this makes it no less sweet.
Taking a turn with its deep dive into vulnerability, 'Ethel' has a discernible aura of anxious yearning.
The limited instrumentation from early on allows McGovern’s vocals to command the track. ‘I always
wanted it to be like this for us’, begins the string of heart-on-sleeve lyrics which explore the desires
of life, clinging tightly to hope and warmth.
The overhanging shadow darkens with the progression of this album. 'The Stars Will Leave Their
Stage' is particularly eerie, almost tortured. Its dark synths and strained cries from the guitars blow
across the desolate soundscape, burying the listener in grey. 'The Lie Becomes The Self' ebbs and
flows but it’s the title track that is the real beating heart of this record. An insistent metronome
beating ticks like a clock beneath blankets of instruments. This pensive piece steadily builds,
reaching through the thick smog of despair and isolation towards the growing light – ‘now I can see
the skyline’. This devastatingly fraught track manages to perfectly encapsulate the spirit of the
album in just under six minutes.
Through the pervasive undercurrent of grief and longing, this album brings forth an intriguing tale of
fighting against the darkness and dirge with strength and vigour at the helm. The first single from
this album, 'Only Good Things', is earnest and colourful, its luminosity marking an evolution in sound.
Released in summer, it felt like the light emerging from their great billowing cloud of a debut. The
track is understated, containing a vibrancy that hadn’t previously been achieved by the band, and
yet is now brighter than ever.
'A Thousand Lives' could be a lost track from Radiohead’s In Rainbows. Lyrics such as ‘crystals forming on your cheeks my love, a thousand lives with you and I won’t be enough’ see McGovern at his poetic best. The song sounds fresh with its bright riffs and breezy guitar flourishes, yet the rumbling bass and accompanying lyrics ‘our nightmares are wonderful, skies dreams in thunder’ flawlessly capture the darkness that remains beneath the light and promise. It reaches its climax in a clamour of noise, bringing forth a whole new sense of urgency. Brennan’s brusque percussion reflects and reverberates between the eardrums, drenching you in a hypnotic wave of disorder that finishes all
too soon.
Put simply, Gigi’s recovery is a beautiful amalgam of noise. The band’s journey of progression has
allowed them to distil their sound into the purest, most concentrated form. Potent lyricism and an alluring soundscape comprise only part of this impeccably crafted work. The shining essence of The
Murder Capital is raw, brooding and enticing. Now there is nothing we can do but wait and see what
they add to the mixture next.
Edited by: Ali Glen
In article images courtesy of The Murder Capital's Instagram. In article video courtesy of The Murder Capital on YouTube
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