At its best, Specter at the Feast is more than just vintage BRMC, with some of the more UK-indebted noise pop reaching impressive heights.
With the exception of the more melodious tracks coming in pairs and slightly hindering the flow of an otherwise excellent album, Specter at the Feast is a very good effort from BRMC, and an example of the continued revitalization that started sometime around Leah Shapiro’s arrival to the band in 2008.
This new record is far lusher and braver than anyone had any right to expect.
Where Specter At The Feast really comes into its own is when Black Rebel Motorcycle Club push themselves to the very limit.
The central weakness of Specter at the Feast is rather inexplicable: Its goodness is inversely proportional to its loudness.
Following personal trauma the band have retreated into what they know best. In that space they have made a patchy record that’s very much intended for loyal followers who have completely bought into their long established aesthetic.
Call these cuts dark. Call them rockers. But they’re neither of these things when stacked against something much more simple and hard-hitting: sincerity.
Not a terrible album, just one lacking in inspiration.
Este álbum es un caos y algo loco musicalmente, no es un extraordinario álbum, pero hay canciones que me gustan de este álbum y no pararía de escuchar.
Specter At The Fest, before I get any further, is the most expansive album BRMC has come out with since Howl. There are some elements of prog, punk, and a few gentle synths throughout the album, without it being too overpowering. Ultimately, there are a few decent blue collar rock songs that feel exhausted and jaded, which is the ultimate feeling this album evokes.
Favorite tracks: Let The Day Begin, Lullaby, Teenage Disease