As the saying goes, there’s no ‘I’ in ‘Team’. Apparently there’s also no ‘U’ in Colorblind either, but of course this is the name of a band, and they’re not British. Hailing from Austin, Texas the four-piece has been labouring away for almost a decade and, after having signed with Solid State Records, they’re ready to their unleash their debut album. On the subject of grammar, its title contains two questions, but no questions marks; that means it’s a statement, but what is it saying?
Colourblindness can take many forms but essentially it’s being unable to discern different colours, not necessarily red or green, but differing shades. One might blur into another. A varied canvas may appear to be a single swathe, and this makes Colorblind the ideal name for a band whose work exists on an indistinct spectrum. Clearly, their sound is post-hardcore. The drums, and the particularly occasional breakdowns, are lifted directly from hardcore but the overall tone is softer and more indebted to shoegaze. ‘Dreamcore’ they call it, which feels surprisingly accurate with its slightly abstracted sounds and softened edges. Of course, because some of the sounds are intense, even harsh, and layered with imagery the description implies they have some quite interesting dreams. It’s a sound closest to bands like Saosin, or any of the bands featuring Anthony Green but they would sit neatly alongside smaller bands like Parting Gift or Terminals.
The album’s title gives something else away, the track listing contains the whole of their ‘Who Sold You This Truth’ EP. The older songs like ‘Let Down’ and ‘God Complex’ are heavier but fit seamlessly alongside the newer works. The difference between the two is a sense of exploration and alongside Justin Page’s guitar parts there are throbbing synth pulses like on ‘Pressure’ or a snappy shuffle under ‘Royal Blood’. These gentle electronics are wisely deployed so they never feel glitzy or too prominent and just add a gentle layer of atmosphere, meaning it all feels tasteful. And, because of the slightly washed-out dreamy sound, it doesn’t feel as heavy as it is.
The record’s defining features is how constructed it all feels. Although the drums offer a consistent beat the other sounds are strangely distant. There are few defined guitar sounds and instead there is a rush and swell of effects. This make it feel druggy and dreamy on songs like on ‘Lost In Translation’ and ‘Car Crash’ but the higher tempo songs like ‘Incomplete’ skew toward pop music, making the whole record seem accessible and easy.
At a first glance the fifteen track total can be off-putting. It appears to be a lot of music, but it’s an illusion. The album’s runtime actually feels concise and thoughtful. There are two reasons for this, firstly the songs are relatively short and focused so it doesn’t lose its sense of momentum. Secondly, there is a consistent level of quality. Each song is presented like a single with a hook, a solid chorus and solid underpinning idea. This stops it getting bogged down with sonic experiments making the runtime pass quickly and easily.
The band’s most distinctive feature is Travis Moseley’s singing style. It’s high and emotional, similar to Anthony Green or Peirce The Veil’s Vic Fuentes (Particularly on ‘Car Crash’) and is consistently engaging. That’s the trick. Throughout the album he shifts his voice through higher registers to create slick hooks and hold your attention. Put simply, it feels easy. This is a product of the slightly ethereal tone and the music’s softened edges. Even when he’s leaning into harder sound for emphasis on songs like ‘Royal Blood’ there’s a fuzzy, slightly distorted feel that is open and honest. It’s that sound a lot of over-produced singers are searching for, blurred but human.
One of his best tricks is the way he presents words. By using over-pronunciation he shapes the songs in engaging ways, for example using adding letters so the word ‘My’ sounds like ‘May’ or by giving ‘Love’ five syllables and numerous extra vowels. It’s delightful. He also plays with rhythm like on ‘Incomplete’ where the quick rhyme scheme is really effective. On a handful of songs like ‘God Complex’ he dips into screaming, but those harsh moments are woven into the song’s fabric so that they’re neither off-putting nor feel out of place.
Lyrically, Moseley relies on common phrases like ‘fight fire’ or ‘Misery Loves Company’ which is a remarkably effective way of working. It gives the songs a solid base he can then loop his stories around. He also uses strong imagery on songs like ‘Needle Eye’ which add an extra dimension and mean that it’s not all one note. This works particularly well on ‘Chemical Warfare’ which combines all his strongest tricks to create a stinging mixture of melody and meaning, especially during the breakdown where the backing vocal hissing ‘It burns’ rushes to the foreground. The closing song ‘Cynical’ is a stripped back ending sung over a soft echoing drum loop, like a dream drifting off into morning. It’s a stirring and satisfying ending to the record.
Colorblind make post-hardcore that is both blurred and beautiful. ‘Who Sold You This Truth ++ Was It Yours To Hold’ is a strong statement painted in a variety of shades and colours.
IAN KENWORTHY