When approaching a new record, nothing fills me with dread quite like the phrase “concept album.” This generally self-indulgent sub-genre brings to mind such sonic disasters as Kiss’s Music from “The Elder” (which, if VH1’s “Behind the Music”is to be believed, so disgusted guitarist Ace Frehley that, upon hearing the record, he destroyed his advance copy and quit the band). Luckily for everyone involved, Holsman’s debut LP, ‘Sally’, is light on the concept and heavy on the album, reminiscent of such successful feats of musical storytelling as the Pretty Things’ S.F. Sorrow or The Kinks’ Arthur (Or the Decline of the British Empire). Throughout its runtime, ‘Sally’ provides enough lyrical touchstones and thematic elements to keep the listener reaching for the hopefully-provided-with-the-physical-release lyric sheet, without drawing attention away from the songs themselves.
Musically, the record has the massive hooks and rhythmic energy that would appeal to fans of American Idiot or The Black Parade (apologies for referencing nothing but concept albums here, but every writer needs an angle, so sue me), and on a couple of tracks they channel Nirvana’s more primal moments or Weezer before they started to suck (a period which lasted roughly thirty seconds). There’s a serious level of professionalism here, and I wasn’t surprised to learn that it took multiple years to bring this album to fruition. This kind of effort can often be a kiss of death for a rock record (no one likes a band that sounds like they’re working too hard), but Holsman manages to maintain the energy and spontaneity throughout, giving the record a distinctly human touch and saving the songs from the threat of overproduction.
Let’s get back to the lyrics. With song titles like “God’s Drunkest Driver,” “I’ll Be a Dog in My Next Life,” “Kill John Lennon” (which brings to mind The Meatmen’s 1983 classic “1 Down 3 to Go,” but maybe I’m alone in this), and “Suicide in the Workplace,” we know we’re in good—and perhaps unfortunately relatable—hands. (On a personal note, since I work from home, I’d be forced to either drive cross-country to kill myself in my employer’s office or do the deed in my own house, which would obviously fail to communicate the intended message and leave one helluva mess.) I suppose given Sally’s subject matter (the album tells the story of “two twenty-somethings—both survivors of abusive childhoods—as they try to build an adult relationship out of materials neither of them was given.”) some listeners may need a trigger warning, and that’s fair. But it’s also what gives the album much of its immediacy and emotional heft. It’s rare to listen to a record and feel like the artist actually gives a shit about you, but this is what lies at the heart of Holsman’s (noble) intentions. A record can’t love you back, but at least ‘Sally’ dares to try.
HOLSMAN will release their debut full-length ‘Sally’ on August 28th!!
Links of interest:
https://www.instagram.com/theholsman
https://open.spotify.com/artist/6qJ6IMc27mBcgCHFY9oso7?si=C9eQE1JnSHy1oFSa5Wv_ag
https://holsman.neocities.org