ALBUM REVIEW: Shame – Venice Bliss

VENICE BLISS are back with their sophomore album Shame, and they’re grungier than ever before. It sees the Parisian band explore a darker side of their sound which, for the most part, is a move that works extremely well for them. Where their debut Passion leant into a more indie-rock vibe, Shame, as its title suggests, explores some moodier themes. 

The album kicks off with the opening track Drops, which eases the listener in with a more upbeat feel, before taking an almost eerie turn. Combining a light, enjoyable guitar riff with the repeated mantra of “every time I see the rain,” the first half of Drops is a guaranteed earworm. Then, the end of the track crumbles into a sudden switch-up of vibes, with layered, electric guitar sounds, an echoing vocal, and crashing drums serving as an introduction to VENICE BLISS’ new, more complex sound.

Hannah is by far Shame’s standout moment. At nearly seven minutes long, it is a track that covers a lot of ground, and if Passion’s five-and-a-half-minute Invert Convert is anything to go by, this alone means we are in for a treat. Starting simple, with jagged guitars and minimal lyrics spoken in a monotone, grungy way, on your first listen it is impossible to guess where Hannah will take you. When the guitars begin to layer and the drums pick up the pace, perhaps you’ll begin to think you’re in for a punk headbanger of a song. Then, the track meanders through a low, quiet guitar moment, giving us a glimpse of the incredible ambient instrumentals VENICE BLISS are capable of. The track repeats this pattern once more. Some bands may leave it there and quit while they’re ahead. But, just as the track begins to simmer down, a steady drum beat brings us back in. The lyrics begin repeating “until the day you die” before the track suddenly explodes into a wall of sound, with echoing guitars and urgent vocals. It’s an epic build-up before a rapid climax that sees us back at the song’s catchy, angsty chorus for a final time after a wild ride. 

Another song that highlights VENICE BLISS’ step into a grungier sound is 7 Years. Here, the band play with contrast again, as they did in Drops. The intro lays down a heavy electric guitar riff and a clunky drum beat, giving us a taste of nostalgic 90s grunge. When the first verse kicks in though, this is all stripped back, replaced with relaxing strings and calming vocal tones. This quieter chorus means that when the full chorus kicks back in with a seething chant of “seven years of breaking everything” it packs double the punch. A highlight of 7 Years is its final guitar solo, which seals the deal on a rock track that feels like it broke the time-space continuum and is visiting us now from a time before Spotify.

The heavier sound is a winner for VENICE BLISS, but that doesn’t mean it hits just right every time. Razorblades is one of the album’s lower points. It’s one of the darker tracks lyrically, with hard-hitting lines like “blood will be shed.” But, for the most part, it’s a repetitive track instrumentally and while fast-paced it lacks the experimental energy seen in the second half of Drops, and later in the album, which is what makes Shame so exciting to listen to.

But, just because the darker sound marks some of the most exciting moments of Shame, that doesn’t mean that there’s nothing for fans of VENICE BLISS’ indie tracks. Second track Cockroach is a moment of indie-rock reprieve, with a conversational feel to it. It’s a car-friendly, summer drive of a song that you can easily imagine as part of the score on a feel-good film. It’s sure to go down well in live shows, as it’s already hard to listen to it at home without singing along.

Shame is sure to introduce some new fans to VENICE BLISS’ world, and give older listeners a whole bunch of new favourite tracks. We can only hope the new sound is a sign of things to come.

Rating: 7/10

Shame is set for release on June 21st via Kernel Panic Records. 

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