Rews have always been a band I’ve enjoyed listening to and reviewing their past releases in the debut album and 2020’s Warriors and whilst it’s not a band I have on constant rotation, I always have a fun time listening, especially when something unexpectedly crops up on a randomly generated playlist. Not much has changed for Rews in the last few years, still helmed by songstress Shauna Tohill and in the live environment featuring a rotating cast of bassists and drummers, it’s the albums which keeps the whole thing anchored.
Meridians is more Rews in the best possible way. A direct continuation of the previous album whilst showcasing growth and progression, it’s a more diverse soundscape on offer with more mature songwriting and lyrics. Still operating in the alternative rock spectrum and still delightfully gritty and edgy, it feels less serious than its predecessor as if Tohill was letting loose and genuinely having fun in the studio. Sonically, it sounds delightfully upbeat and any remaining traces of indie which were found previously have been stripped away in favour of brighter pop tones.
Indeed, Tohill has always known how to craft a catchy song which makes you want to move and this album has no shortage of them. Right from the off, opener “The World That You Left Behind” is a taut, muscular track that doesn’t mess around, powered by thunderous marching drums. But once the soaring chorus kicks in, it turns into a bouncy anthem covered in a bright varnish – the type of songs Rews have made their name on. Meanwhile, “Pretty Face” has a snarling bass line against its bright, punchy hook to contrast the elements. However, it’s the bass which becomes the star of the show as it acts as a reflection of the snarky and toxic expectations those who identify as female face whilst Tohill condemns it in its lyrics.
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Filthy bass makes its return on “Psycho Maniac Killer” as it drives the majority of the track and sits high in the mix, locking in with the drums and the pair sit above the bare bones yet effective melody. It’s a lesson on how to make a track simple yet effective and the less is more approach can be potent when done well. Meanwhile, “Not Your Soldier” and “On My Back (Giant’s Roar)” are gritty, tempestuous rockers which pull no punches and has some of their biggest and most boisterous sounds they’ve captured on record to date.
However, if you’re looking for something a bit tamer, the dreamy elements of “Misery” and “Tears of a Lion” should have you covered. Whilst there’s nothing equating to a ballad on the record, there’s still a couple of moments to catch a breather before you’re thrown into the thick of it again. Perhaps the most interesting of those moments comes with the acoustic “Everything” closing out the album. Acting as a way to bring you gently back to Earth, it’s still a fairly upbeat number and allows Tohill to display a more tender side of her vocals. Elsewhere, “Addicted to You” is the album’s poppiest, guitar quietly chugs effortlessly in the background mingling with a thick bassline for the most part. But it does manage to roar into life at moments, sounding like a buzzsaw in need of oiling but never strays into full-on punk assault.
Meridians is another solid release from Rews which manages to display tenacity and resilience whilst exploring universal themes. Songcraft is better than ever and whilst every Rews album has been great in its own right, this is the first in which every song could feature in a live set amongst older material. Each song individually is deeper yet as a collection, they’re far more consistent and sonically closer to each other. Whilst it would be interesting to see what a solid line-up of the band could produce over the years, the singular vision isn’t narrow by any means, allowing for another dose of fun and catchy rock.
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Meridians is out now
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