In the modern pop world, mainstream music has become bland, characterised by repetitive, soulless choruses that often lack emotional nuance. Rock band Scowl — fronted by vocalist Kat Moss — deviates from their usual hardcore in their sophomore album “Are We All Angels” in favor of pop-punk experimentation.
Released on April 4, the album adds musicality and meaning to the dull catchiness of pop, but the monotony of the genre may be its downfall.
“Are We All Angels” is not long, with 11 tracks spanning a runtime of 33 minutes, but it is enough for Scowl to explore social rejection, isolation and emotional response. These themes are what carry the project, marrying pop with raw and visceral motifs.
The album opens with “Special,” hitting with fast-paced drums and harmonics that introduce Scowl’s new, clean sound. The vocals come in, and the pop influence is clear as they replace the screaming, gritty vocals with a more melodic style. Moss switches seamlessly from new vocal expressions to her recognizable, hardcore fry screams. This track introduces a theme developed throughout the album: fear and abandonment. Hintings of a toxic relationship create a raging atmosphere as well.
“B.A.B.E.” leans a little more into rock, but the switching styles of lyricism continue. Overwhelming suffering is explored as Moss sings about craving respite from it all. Songs in the album follow a similar structure, switching between aggressive and resonant vocals, with punchy instrumentation backing them up. This, combined with Moss’ sometimes monotone delivery, becomes tiresome.
The following tracks are not particularly noteworthy, seeming like the same song in different packaging. “Fantasy” and “Fleshed Out” explore loneliness and instability. An angry response drives “Not Hell, Not Heaven.” “Suffer The Fool” and “Haunted” reference earlier signs of a devolving, one-sided relationship that is not worth the further effort. While Scowl delves deeply into these complex emotions, utilising metaphors and vocal changes as symbols, their songs still align with mainstream pop — featuring repetitive choruses that lack variation and interest.
The final and title track, “Are We All Angels,” outdoes the rest. It more closely resembles Scowl’s previous album, featuring gritty vocals and vigorous instrumentation. The dynamic changes, tempo variations, and all-out playing cultivate a rollercoaster of emotions; an emotional ride takes listeners back and forth from energetic to muted and grungy. However, the end of the song transitions back to the melodic yet monotonous pop vocals, finishing the album on an unsatisfying note.
Fusing pop and hardcore is a great idea, but Scowl did not bring anything new to the table. They missed an opportunity to explore pop outside of catchy soundbites fully, but beyond the repetition, the songs themselves are bold and intense. Emotion is well conveyed, so the listener feels that they are experiencing it while enjoying it. Not all music needs to be revolutionary, and this album is perfect for those seeking catchy music with a punk edge and more substance than conventional pop.
