It would be easy to dismiss JOHN as simply IDLES acolytes; particularly on Nocturnal Manoeuvres, where the production finally catches the scope of their sound.
Their music is confrontational and brutal, but with intelligence hidden behind frayed edges. So far, so similar. But basic comparisons miss the point: just because you stumble on a similar idea to someone else doesn’t mean it’s any less of a brilliant idea.
And there are some wonderfully realised ideas on Nocturnal Manoeuvres: recent single Šibensko Powerhouse is thrusting and urgent, and signifies the nosebleed-inducing intensity of what’s to come.
Whether it’s the hypnotic, undulating and disorientating brilliance of Nonessential Hymn or the raw fuck you that is A Song For Those Who Speed In Built-Up Areas, you can’t help but be mesmerised. These tracks move as if on rails, with a singular purpose, and there’s no deviation in momentum or intensity.
But JOHN don’t just do raw intensity, they’ve now discovered scale. Austere Isle has an almost epic cinematic scope that brings together the cloying paranoia of Campag Velocet with the expansive soundscapes of British Sea Power while in contrast, Jargoncutter’s crazed shifts in tone keep you guessing every step of the way.
Or even more idiosyncratically you have tracks like Haneke’d, whose almost ridiculous humour feels somehow very ‘British’ and very alien due to its aggressive whimsy. It’s a contradiction that feels long overdue and wonderfully welcome now it’s finally made an appearance.
However, if there is a criticism of Nocturnal Manoeuvres, it’s in its expectedness. Every song delivers a lot of raw intensity, there’s even a cinematic scale to certain moments. It never lacks excitement. But there is a lack of drama.
Each tune packs a punch of vitriol, and they never hide that fact. Some build-up to it, some slap you with it straight away. Some even take a breather from it in the middle. But none surprise you. It’s no bad thing, but when listened to as a whole, its familiarity lacks a texture which would’ve delivered an even more exciting ride.
But then, maybe that’s the point. Maybe Nocturnal Manoeuvres isn’t meant to surprise or delight. Maybe it’s simply meant to hit you as hard as possible every step of the way, and not waste time on the unnecessary.
As Nonessential Hymn defiantly states: ‘All these precious things, they don’t mean that much to me.’ Maybe this is not just a cast-off lyric, is it instead the ethos of this record?
Songs are angry and apathetic, sarcastic yet sincere, brutal but refreshing. And it’s this refreshing brutality that gives this album its power. The intensity of Nocturnal Manoeuvres never smothers. Instead, it feels like a release for the band and the listener. A way out of all the little things that get in the way of what really matters, whatever that may be.
The one thing that is clear is JOHN have found their voice, and they’re going to make people listen.
