One of the best things to see in music is the way that a band can progress, and constantly manage to stay relevant with every release. 12 years deep into their career, Louisville punk band Coliseum have been able to do just that. Each time the band has put out a new record, they have expanded on their sound and plumbed new depths so as never to create anything that could be deemed regressive.
They have come a long way since the more abrasive tone of their self-titled debut, and the crust punk infused ‘No Salvation’ which garnered them critical acclaim. Coliseum are now on the fitting home of pioneering label Deathwish Inc. and for their fifth full length ‘Anxiety’s Kiss’ they have once again upped the ante by adding an expected twist of melody to their music.
The rampant opening of the anthemic ‘We Are The Water’ bares a striking resemblance to ‘My Sharona’ by The Knack, but that’s not a bad thing. Primary songwriter Ryan Patterson’s vocal sounds huge over the repetitive beats and major key lead guitar lines, and while it may be a far cry from their heavier past it is no less intoxicating. They fly through the fast paced ‘Course Correction’ that takes a huge influence from 80’s punk and new wave, into the hip-shaking rhythm of ‘Wrong Goodbye’.
Coliseum have embraced a number of different genre’s this time around, and while their last album ‘Sister Faith’ saw them begin to explore unchartered territory, ‘Anxiety’s Kiss’ has seen a complete shift in the dynamic of the band. There is a nod towards a DC sound, melded together with distinct hues of classic post-punk, and even touching on a goth/darkwave mood for ‘Sharp Fangs, Pale Face’ that pays subtle homage to Sisters Of Mercy.
It’s clear that the aforementioned Sisters Of Mercy have played a huge part in shaping the band’s sound, but the most noticeable cues come from that of iconic British punks Killing Joke. However they haven’t tried to do what Killing Joke did before, and at no point does Patterson try to be Jaz Coleman (how could he, there will only ever be one). The slow, and darkly sparse ‘Driver At Dusk’ borrows their gloomy overtone, while the huge ‘Escape Yr Skull’ that closes the album utilises a cavernous drum sound underneath dense and driving guitar riffs, which were another staple of Killing Joke’s arsenal.
While Coliseum have looked to the past for influence on ‘Anxiety’s Kiss’, it still remains refreshingly original. There could also be a huge degree of crossover appeal to people who had never heard of Coliseum until now, where their sound in the past was often alienating due to it’s ferocity, this record is far more welcoming. This is not the sound of a band who have changed for commercial gain, but more that of a band looking to cover as much ground as possible with their creativity. If ‘Anxiety’s Kiss’ is the end result of this then there is no shame in that, because it is an exhilarating listen.
GLEN BUSHELL