BIG SPECIAL’s debut album, POSTINDUSTRIAL HOMETOWN BLUES, is the duo’s blazing entrance onto the British punk music scene, placing them in the position of one of this year’s anticipated new artists and making a strong testament that punk is not dead.
The Black Country duo from Walsall consists of lifelong friends, Joe Hicklin (vocals) and Callum Moloney (drums). The band was formed during lockdown to battle its monotony – a use of their time that proved to be more than productive, as BIG SPECIAL have now had small successes, supporting Placebo on their recent tour in South America and soon hitting the road for their own upcoming headline tour in the UK, with some sell-out dates on the table. Their newfound success is only bound to grow and gain momentum with the release of their first album.
POSTINDUSTRIAL HOMETOWN BLUES is an extremely honest and personal commentary on the politics, values, and everyday tedium of a depressed and sick modern nation, and how that affects the individual, putting an unbearable strain on their mental health. Hicklin commented on his own politics during an interview with NME, telling them that ‘the working class might as well be completely fucking invisible,’ so, with this album, he gives visibility to the working class – it’s not just music; his lyrics intend to create a wider discourse, a plea for political change. This album is shrouded in originality, with the fifteen tracks creating a sound that combines punk and heavy rock with blues, folk, and soul, with the inclusion of synths throughout.
The opening track, BLACK COUNTRY GOTHIC, encapsulates the spirit of the duo. Hicklin’s vocals are varied; in the verses, he shouts the lyrics with passion in a spoken word fashion, and then during the chorus, his vocals become soulful and bluesy. All the while, Hicklin is assisted by Moloney’s thumping drum beats, wobbling synths, and catchy guitar riffs.
SH!THOUSE is Hicklin’s angry expression about his experience with his depression and the way that it follows him around: ‘‘Well, I thought I was getting better, I must think I’m fucking Mickey Mouse.” You can hear his frustration throughout the track, not only in the lyrics, which are all loudly bellowed, but also in the way the drums are played, sharp hits that emphasise the rage of the track.
As the album continues, BLACK DOG / WHITE HORSE expresses the same themes of depression and what seems like its never-ending cycle, but it is a track that completely stands out from the other songs on this album as it is truly a showcase of Hicklin’s vocal abilities. He doesn’t speak or bellow the lyrics on this track; instead, his voice is intentional and soulful, amplifying the emotional aspect of the lyrics. You can hear his desperation in the chorus when, with power, he sings, ‘He’ll be coming round again, a black dog.’
BIG SPECIAL find heavy influence in poetry, and this is something that you can hear the strongest in the album’s penultimate track, FOR THE BIRDS. The words are the main event – the instruments, a tinkle of piano keys and pacifying synths, are quiet in the background of the track. It plays like a spoken word poem, exploring themes of wasted youth, a loss of hope, and a lack of purpose: ‘we were supposed to be young.’ BIG SPECIAL lets you know that it’s punk to feel deeply.
POSTINDUSTRIAL HOMETOWN BLUES is a new and original strain of punk, intertwining punk with poetry – an unorthodox and brave combination. This duo is one to follow if you enjoy lyrics with meaning but also loud, thrashing drum beats. Or, if you’re a fan of SOFT PLAY and Fontaines D.C., this album shares sonic similarities and will be your new favourite release.
The band will be taking their debut record on tour in the UK throughout May, with a show at The Jazz Cafe, London, on May 16th.
Words by Emma Harrison