ALBUM REVIEW: New Ways Of Living – The Winter Passing
THE WINTER PASSING makes a return to full-length albums since their 2015 debut, taking a brief moment for their 2017 Double Exposure EP, and now marching into this year with their latest record New Ways Of Living. This album cycle will see the Irish quintet rehash a beloved memory of 2000s Midwestern emo – deep cutting vocals, cathartic lyrics and exasperated lack enthusiasm for life in the most relatable way – but finds innovation in execution with a modernistic outlook on emo, similar to that of TINY MOVING PARTS or THE FRONT BOTTOMS, that walks hand in hand with influences of pop-punk and indie influences.
Opening with somewhat of a subtle note, Ghost Thing establishes the overarching qualities of this album but leaves room for some surprises. The instrumentals alone really flaunt their love for 2000s emo music with its stripped-back nature style that does the job without over-complicating things, giving way for the powerful vocals to shine through. This track in particular is very reminiscent of something from MODERN BASEBALL’s 2014 LP, You’re Gonna Miss It.
The stylings and overall resounding finish of this album exhibit the band’s thirst for creativity. On one hand, there’s absolute tributes to old school emo and indie in The Street And The Stranger and I Want You but in a genre that’s painfully beyond the point of being overdone, THE WINTER PASSING adds their tastes and talents into the mix that opens up some interesting avenues for their sound to diverge. One could argue that Melt and New York peel back at their DIY punk roots and represent the more modern approach to emo which takes mere inklings of pop-punk and punk that creates a lively energy within predominately very sad songs, it’s an interesting juxtaposition of emotions. Other tracks that are still inherently emo, such as Crybaby or Something To Come Home To, abstract from the ordinary by incorporating small tidbits like a piano ballad or gang vocals.
The vocals and lyrical counterpart of this album really are its shining glory. Following the traditional suit of indie/emo, the vocals body themselves as raw, uncut poetry that power through each track and really give the whole album an unnerving, emotional edge. The scathing roughness of Rob Flynn’s vocals create a nice contrast between Kate Flynn’s angelic harmonies, one might say it represents the polarising and complexity of emotions within this album, jumping from very confrontational and angsty vocals to softer, gentle sounds. At one point Kate’s singing creates a dreamscape like feeling in The Street And The Stranger, bordering almost a slight shoegazey vibe. Lyrically this album is nothing short of honest and relatable. The Flynn-pair articulates the harrowing relatability of loneliness, anxiety, and struggling with being accepted. A lot of which is also formulated like a story-telling narrative, for example, “you turned and you asked me where I’d be in a year, I said anywhere else, anywhere else other than here” in Crybaby or “I hope Frank knows that I still care, and I hope my family still knows that I tried” in The Street And The Stranger, that is so personal you almost feel like a third person watching all these events unfold, and can’t help but empathise for the protagonist.
Upon reflection of their earlier works, their 2017 Double Exposure EP could be argued to have heavily leaned more toward their punk background especially in tracks She Was A Rose and Like Flowers Ache For Spring, and their 2015 debut album felt the epitome of gritty, rough around the edges type of indie rock. This latest album comes almost like a full-circle moment for THE WINTER PASSING, they’re really honing in on their emo indie niche whilst paying respects to their punk roots and trying to extend themselves beyond that for some fun. Half a decade into their career and this seems like a major stepping stone for the band in particularly refining their sound, it’s almost like a coming of age for the band.
Although, a criticism of this album could be that it sometimes doesn’t go far enough. The aforementioned saturation of this particular genre makes it complicated for artists to do something new or exciting that hasn’t already been done, but it’s not impossible. Yes, this album is a wonderful labour of love to early 2000s alternative music that exhibits raw passion and talent but there’s nothing jumping out and screaming at you like ‘wow this is something I’ve never heard before!’ Whilst being something you already know and love is a key high point of this album, it can also become its unfortunate pitfall with the genre they’re entering is so heavily populated that there’s almost an expectancy to do something completely different or experimental for the sake of it.
Put simply, New Ways of Living overall feels like a nostalgic wave of the early 2000s softer emo/indie wave that will reignite your resentment for your hometown, your friends, and the person you fell out with. It’s catchy, has a modernistic touch to keep it sustainable, and is easily something to throw on when you’ve got the quarantine blues.
Rating: 7/10
New Ways of Living is out now via Big Scary Monsters.
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