Joe Appleford is set to release his ambitious debut album ‘Dystopian Dreams, Utopian Nightmares’, a concept album about the juxtapositions in modern life. Across the record, Appleford takes on different roles to give this record a kaleidoscopic point of view with the design of the album intent on taking the listener on a journey of self-discovery, of worth, value and identity. The solo venture has formed 4 years on from the ashes of Appleford’s previous band Bad Sign, a departure that left him feeling crushed until he was able to pick up an instrument again and even beyond this time. It took some time for the singer to realise that even in his solo work he wanted to achieve large scale sound with big riffs citing The Black Keys and White Stripes as influences for this. A chat with Nana Appleford gave him the kick up the arse he needed to take the demo’s to friend Neil Kennedy and with the help of Static Dress’ Sam Odgen the project was truly born.
Opener ‘Dystopian Dreams’ is as gargantuan as you’d want, need or expect to open an album that boasts arena-sized riffs, complete with a mammoth level of noise that hits like a wall of sound. ‘Silver Lining’ follows to offer melody and grit combined together to craft a swooning bouncier number following the opener, a song about escaping manipulative relationships and knowing your own worth, sets the tone for what’s to come.
“If any racists or homophobes do listen, that song is their invitation to fuck off.”
The album boasts a good degree of variance, take the snarling groove of ‘The Escapist’ that takes influence from the film ‘Her’ and explores “our relationship with technology and encourages you to cherish your real relationships”. Appleford knows everyone will, unfortunately, recognise the sleazy, manipulative character portrayed in ‘Leech’ which is also composed to be intentional scrappy. Meanwhile ‘Green’ is about envy, bad decisions and regret. It’s fantasy built on the bones of the everyday and features a stunning chorus featuring a lovely falsetto vocal and confidence oozes out of it.
Elsewhere in the album ‘The Fugitive’ has an undeniable groovy stomp with the urgency and resonance of an Alexisonfire song and ‘Sweet Teeth’ offers a little diversity lightening up on drum patterns and generally offering a less distorted banger without losing the heavy heft the album has offered so far.
Then there are tracks like ‘Last Orders’ which tackle Appleford’s addiction to alcohol and his journey to sobriety with bold honesty. “It’s only since being tee-total that the extreme depression that led me to almost not being here has evaporated. I want people to know that you can come back from the darkest place,” he explains. Its the stripped back song on the album that hits at the right time to allow the listener to hear Appleford at his most vulnerable with nothing else to focus on aside from him, his voice and his words.
‘Love and War ‘is just as direct, with Appleford calling for more inclusion on a song that sees him vocally support LGBTQ+ rights and touch other important subject matter. “I wanted to write a song about all the things that are important to me and by putting it out there, anyone who listens to the record knows what I stand for. I only want people to connect with me if they share these views. If any racists or homophobes do listen, that song is their invitation to fuck off.” Appleford states.
“The final two songs on the album see Appleford embrace creativity and expansiveness”
The final two songs on the album see Appleford embrace creativity and expansiveness with ‘Mounteback Blues’ offering a huge chorus and a punchy verse. There’s two instrumental sections that offer relentless riffs and are thrown in like lightning in a bottle as it phases into a purposefully chaotic section before launching into an assault of thrashy drums and guitars. Lastly, ‘Utopian Nightmares’ crowns off the album in brilliant style as a 6 minute opus which offers a slow build from a stripped back intro that allows the listener to hear Appleford at his rawest and most impressive vocally with a raspy croon that resonates and reverberates beautifully. It’s a big ol’ heavy ballad as it builds to its crescendo and the outro is delivers on the climatic punch required to round out the album.
‘Dystopian Dream, Utopian Nightmares’ is an ambitious, impressive and brave record, one which is clearly crafted out of the ashes of pain and angst. It is bold and brashy musically but also raw and vulnerable lyrically. The album offers variance and, despite being a debut, feels as though it is the record Joe Appleford was destined to make as it feels he has poured his entire self into these songs and feels comfortable in delivering them. Appleford is clearly not afraid to tread lines and blur boundaries whilst experimenting with genre and expansiveness in his own music. If this level of finesse and meticulous precision that is delivered on a debut, strap in for an mind-blowing sophomore!