ALBUM REVIEW: Duvel – Duvel

It’s obvious by now that music is cyclical. Time and again, genres that seemed to have faded from popularity can experience sudden and widespread resurgences. At the moment, one such genre is post-punk. From IDLES to FONTAINES D.C. and beyond, today the sound is arguably the most popular it has been since its 1980s heyday. Enter Norway’s DUVEL with their second and self-titled full-length, set for release on July 2nd via Oslo-based label Fysisk Format. It’s another record which sits comfortably within the post-punk revival, albeit with a lighter edge than the bands mentioned above.

While much of the current post-punk scene seems to focus on gloom and menace, that doesn’t apply here. Duvel is far more Friday I’m In Love than it is From Her To Eternity. It’s consistently energetic and melodic, with the band drawing influence from goth rock and new wave for good measure. The results draw not only the obvious comparisons to bands like THE CURE and SIOUXSIE AND THE BANSHEES, but also show flashes which are more reminiscent of 00s revivalists like EDITORS and INTERPOL.

Duvel definitely marks an evolution from its far rawer and scuzzier 2018 predecessor Attempts At Speech. A large part of this is certainly down to the band’s recruitment of keys player Kaspar Nikolaisen Hegre. Hegre joined right after the release of their debut, and adds a lot of melody to DUVEL‘s sound. His work shines on several tracks, including opener Church Bells, and the back-to-back combo of Human and U. Guitarist/vocalist Jack Holldorff also stands out. He makes for a charismatic presence throughout, regularly channelling his inner Robert Smith for a passionate, dramatic performance.

In terms of song highlights, album opener Church Bells may well be the record’s best. It gets Duvel off to a perfect start, with melodic lead guitar lines and a catchy bouncy chorus. Much of the album’s first half is similarly strong. Second track Hong Kong Sex Toy Store has a slightly sadder feel, but avoids becoming drab or dreary. The energy remains high, driven along by simple yet solid work from the rhythm section of bassist Zacharias Flaathe and drummer Brage Lindebrekke. All Out On You after that boasts a danceable indie rock feel, with another earworm chorus that’s hard to shake. The aforementioned U is another definite overall highlight. There’s a real gothic grandeur to this one, with a heartbroken Holldorff singing “It wasn’t drugs or alcohol or fighting that led me astray/It was you.”

As strong as most of it is, DUVEL do make a couple of missteps on this record. Sixth track Rooftops is arguably the album’s weakest. For the most part, it feels like a pretty generic little indie rocker. It features a few brass parts, but these still don’t make it feel particularly inspired or original. Other later tracks, like Broken Bottles, are perfectly solid, although you could perhaps argue the band start to play it safe as the record progresses. There’s nothing wrong with them, it’s just that they’re not much we haven’t already heard from DUVEL by this point.

If there is a slight surprise on Duvel, it comes with album closer Eels. This one’s the longest track on the record by a good minute, and does have a bit of menace to it. It features brooding, bass-driven verses that erupt into grander choruses carried by an impressively versatile and theatrical vocal performance from Holldorff. It brings to a close a record that’s never less than solid, and often quite excellent. With a half-hour runtime, Duvel passes by in a flash. It’s a well-produced and perfectly evocative album which harks right back to some of 80s post-punk’s finest. If you’re looking for something darker, there are plenty of other bands out there who’ll scratch that itch, but if you just want something a little more feel-good, this album’s the one for you.

Rating: 8/10

Duvel is set for release on July 2nd via Fysisk Format.

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