Biffy Clyro are a band which always seem to have been around. Despite rising to power with debut Blackened Sky back in 2002, the band never seem to grab attention in the same way as a charismatic rock outfit like Foo Fighters, which is a shame when you consider the strength of their catalogue to date.
Latest effort Opposites is no exception, and succeeds in grabbing attention from the very beginning with ‘Different People’, in which a slow build of keyboard give way to a perfect sing-along melody.
Title track ‘Opposite’ is as touching a ballad as any of their contemporaries have ever managed and sets the tone for the album as a whole – this isn’t raw and gritty Biffy, but this isn’t them going soft either.
The sound has been distilled, concentrated and rounded off, but without sacrificing the band’s edginess. Their fiddling of offbeat time signatures remains present, as does the occasional Scottish twang from the vocals which never fails to raise a smile. You won’t find anything quite like the early works such as the iconic ’57′ and ’27′ here, but the polish added with time has made the band shine rather than dull, and those familiar with the Only Revolutions era are sure to feel right at home.
The music adds in a few rogue elements to full effect, such as trumpet in the appropriately named ‘Spanish Radio’, and despite having the usual dash of melancholy, Simon Neil’s dark vocals continue to hit home with their vivid imagery, forcing you to engage where other bands may be happy to let you phase out. The tempo swings up and down, often within the same song, making the album arresting to your ears.
In truth, Opposites has all the elements to serve as a very strong entry point to the journey of Biffy Clyro themselves. Still going strong after almost 20 years, this album is a stop which could see a lot of new fans jump on board for the ride, and the train shows no signs of slowing down.
With such a consistently strong album, Biffy deserve to be noticed and recognised for their obvious talents, and a few songs could even sneak into the pop charts if marketed right. It’s unlikely that this is what the band had in mind of course, but to show the world that the British can still make music, bands like this need to step up and take their well-deserved place in the sun.
James Michael Parry