ALBUM REVIEW: Let’s Not (And Say We Did) – Zeahorse

There’s something strangely paradoxical about Let’s Not (And Say We Did), the third album from Australian noise-rockers ZEAHORSE. On one hand, it’s a chaotic record full of squealing feedback, moments of dissonance, and even some sludginess. On the other, it can also be incredibly mesmerising, lulling its listeners into an almost hypnotic, relaxing, state.

The album is more or less a natural continuation of the sound of its 2016 predecessor, Torana Dreamin. Like that record, and to an extent Pools before it, Let’s Not… features repetitive riffs and relatively straightforward song structures, all caked in the band’s wilder, noisier tendencies. Things are a little heavier this time around too, with ZEAHORSE cranking up the distortion more than ever before. All this makes for a record which draws comparisons to the likes of FUGAZI and SONIC YOUTH, whilst still maintaining a strong sense of the band’s own sound and identity.

Album opener Designer Smile gets things off to a solid start. It crashes straight out the gate with the first of the album’s many massive, dirty riffs. Vocalist Morgan Anthony soon enters the fray, flitting from more eerie psychedelic stylings in the song’s verses, to abrasive shouts in the choruses. The real highlight of this track comes in its latter half however. Here, the band offer up a heavy psych jam with more crushing riffs and distant ethereal vocals. It’s pretty trance-inducing stuff, and should reassure long-time fans that the band haven’t abandoned the psychedelic capabilities they’ve shown on their previous records.

As well as Designer Smile, Let’s Not…’s fourth and fifth tracks stand out as particular highlights. They also do a good job of showing off the different aspects of what ZEAHORSE do so well. Track four, entitled The Ladder, is a bratty, punky piece, with driving drums and scuzzy riffs. It features an impressive performance from Anthony, who offers up some sarcastic spoken musings on a “work function” in the song’s latter half, as well as plenty of his usual chaotic stylings. After this, Cut The Slack slows things down for a real headbanger. This one features another huge riff, and a heavy 90s alternative touch which primarily stems from Anthony’s vocals. These songs may be highlights, but this record is definitely an all rounder. Sixth track 20 Nothing – another big riff rager – also deserves a mention, and indeed every song on Let’s Not… is of a pretty high standard.

Lyrically, the album focuses on “satirical commentary on social behaviour both online and in the real world.” While they’re hardly the first to tackle the concept, ZEAHORSE handle it well. Throughout the record, they manage to be both parts scathing and amusing. Perhaps the best proof of this comes in the opening lines of Let’s Not…‘s seventh track, One Of Everything: “I want one of everything, but I’ve got no taste. I’ve gotta have it because I wanna see the look on your face.”

ZEAHORSE round out Lets Not… with the riff-heavy Dont Laugh, the track from which the album derives its title. The song doesn’t really throw up any surprises at this point, but it makes for a solid closer nonetheless. As its lengthy psychedelic jam brings the album to an end, it’s hard to know where exactly to place ZEAHORSE. The comparisons mentioned above are definitely a good start, but they still don’t quite do the band justice. Admittedly its probably not for everyone, but if you like raucous punk, vibey 90s alternative, intense psychedelic jams, or all of the above, then you’ll definitely find your fair share of stuff to enjoy on this record.

Rating: 8/10

Let’s Not (And Say We Did) is set for release on January 29th via Copper Feast Records.

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