Pay tax and fall in line / They break backs and don’t stop trying
The opening line to Greys’ debut effort, Lyre is as politically charged and charismatically emotive as you’ll get from a local release this year. Appearing on previous single and album opener, Data Meta Theta, Greys lay out a dire sense of apocalyptic hopelessness which bleeds and builds through its short two-and-a-half minutes. Lyre rides a fractured line of minimalism and dense distortion fluttering between electronic blips and crushing templates of guitar noise.
Drawing from almost a decade of production experience, the duo of Greys – Mark Duckworth and Morris Lauga – have shrouded the mystery of the group in thickets. Having only played a handful of live shows and with this, their debut album, being kept in the fire for several years, Greys now deserve the limelight.
Each track encompasses the outstandingly passive yet austere artistic direction the band ensure through their aesthetical being. The Golden Years broadcasts an eerie French vocal sample over a delicately plucked guitar line. A track worthy of art film soundtrack. El Eternauta draws from Greys’ more punk prodigy and typically stands out against the nostalgic and fretful, SS. The ambitious space and juxtapositions that Greys create in just an eight-track journey is an impressively, self-directed path formed through slow, dramatic tension and mind-bending electronic and guitar deformation. Lyre, while skewed more toward the building melodrama, gives us Fly Near My Dear acting as the album’s middle ground crux. Thoughtfully playing on an undemanding guitar riff, the track explodes during the chorus with a gathering of precise punk noise and Duckworth’s emotionally draught vocal wails,
“Tension’s passed / I’m falling fast”.
Greys homogenise nostalgia, political awareness and minimal, exploitative walls of ambience with melted pastoral psych and post-rock elements. Lyre is a catharsis of itself; mirroring euphoric bliss onto its bleak and unbridled themes of dark corruption.