ALBUM REVIEW: Conduit – The Spill Canvas

During their original 2007-2012 run, THE SPILL CANVAS fit comfortably in American alternative rock. Capitalising on the success of YELLOWCARD and JIMMY EAT WORLD, the bands ill-offensive, sweet smile approach to song writing bought with it some impressive results. All Over You from 2007’s No Really, I’m Fine usually makes it onto any genre spanning playlist of the last decade worth its salt, and for a short while, the South Dakota crew amassed a notable following.

Almost a full decade since the release of their last full LP – the quartets decision to return seems questionable before you even press play on sixth effort Conduit. While they’ve never been known for particularly credible song writing, they did seem to once be a band in the right place at the right time. With the current state of radio friendly, skip in your step rock being vastly different (if not non-existent) to how it stood when the four piece were last truly active: you fear this record might be dead on arrival.

For the most part: it is. THE SPILL CANVAS do little in Conduit‘s 30+ minutes to convince you that their comeback was necessary. It’s a shame, because the record’s narrative is particularly commendable. Album opener Architecture takes takes aim at the pot holes in popular culture, and how true art can unfairly be left in the dark: an undisputedly profound statement. The problem is, its execution is painfully non-descript until lead guitarist Evan Pharmakis (VANNA) lays down a whistling clean riff that vocalist Nick Thomas can swing a chorus hook over. Even in its bland nature – it’s one of the highlights.

The one-two of Cost and Gallon sum up Conduit‘s every issue. They both give Thomas the emotive stage to chronicle his personal hurdles and triumphs, which on paper, is inviting. But they’re both so lacking in personality, outside of the front man’s fairly distinct croons – there’s no incentive to spend time trying to unearth their deeper meaning.

Conduit‘s personally explorative themes make it a record that you can’t help but respect. The loss of Nick‘s Mother, his addictive personality, as well as his schizoaffective disorder and more is explored, and his open book nature has to be applauded. But if you’re finding this record as a punter, the hap hazard, London Calling-esque bounce of Darkside isn’t going to keep you hanging around for long.

With his 2014 self titled album Shadowars being, at times, really quite endearing – you have to wonder why Nick Thomas felt the need to release such an intimate tale under the guise of THE SPILL CANVAS. Its message is important, and for those that will resonate with it: life affirming. But at its worst, Conduit just makes you really want to listen to COHEED AND CAMBRIA.

Rating: 5/10

Conduit is set for release March 5th via Pure Noise Records. 

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