Screamfeeder: Pop Guilt Review

I thought I shared this review here when I wrote it in 2017, but that appears to have not been the case.

I feel this review is a little on the short side. For my review attempts, three-hundred words is just enough for an informative review (I think). This one has information but it’s clear that there are parts that I could have expanded upon but didn’t for some reason.

Oh well.

I can still remember a fair bit of the album and should play it again some time soon. It’s quite good.

This is as it was when it went up on Cool Try.

Along with most of my review and interview work, this review is also on Culture Eater.
My colleague and I set up a Patreon to further develop Culture Eater as a source of good quality arts coverage from both ourselves and our contributors.

We’re looking at what we can give to supporters as we don’t want to set up a one way relationship, so suggestions are welcome. Podcast Eater is one of the things we’ve got going. We’ve recently switch to weekly releases and soon will be giving the patrons a bit more.

Please consider supporting, or at least sharing the Patreon page with others. Please also check out what our wonderful contributors are contributing.

Anyway, I hope you enjoy.

Screamfeeder have have released Pop Guilt which is their first album since their last album. It features songs that they have written.

Not straying too far from what they’ve previously put out, Pop Guilt is primarily a rock record with a bit of pop mixed in for good measure for an overall lush, driven sound. There’s not much of an ebb and flow, but the songs never veer too far into rock or pop excess.

The playing is really tight, with most of the focus on the rhythm rather than anyone in particular, leading to the album feeling more like a cohesive whole. Solos are heard on occasion, but are kept brief enough to not drag out the length of the songs.

The vocals aren’t the strongest, but they do suit the songs as they are used quite well. Whilst sitting on top of the music, they never seem to aim to take all of the attention. Furthermore, the vocals deliver all the lyrics in a way that never leaves them feeling downbeat and instead match the energy of whichever song for which they are used.

If there is a problem with Pop Guilt, it is that at times it sounds a bit too close to the past. It doesn’t sound like this was intentional, nor does it sound like an attempt to bank on nostalgia as it suits the songs quite well and doesn’t leave them feeling dated. However, there are moments where it can become distracting.

Pop Guilt is worth the time. The songs work well together and there’s a nice warm feeling that permeates through the record. At times there’s a bit too much of a sense of a bygone era, but it doesn’t affect the record too much. Pop Guilt is a welcome return for Screamfeeder.

About Stupidity Hole

I'm some guy that does stuff. Hoping to one day fill the internet with enough insane ramblings to impress a cannibal rat ship. I do more than I probably should. I have a page called MS Paint Masterpieces that you may be interested in checking out. I also co-run Culture Eater, an online zine for covering the arts among other things. We're on Patreon!
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