When discussing the ever discombobulating notion of modern social issues, we can find ourselves confused and hard done by through the words and actions of political candidates whose best interests are rarely laced within the fulfillment and betterment of the average working citizen.
It's through the short comings of those in power that messages of devastation and frustration for our position in society as a whole are emitted into the world, such as the latest offering from the Limerick Indie, Emo Rocker Anna’s Anchor (AKA: Marty Ryan) in the form of Everybody’s Welcome.
With such a title emulating the spirited conversation into allowing the world and his dog into your consciousness, you would expect an album filled to the brim with emotional porn breaking out of every orifice. In reality the testimonial of various issues ranging from false promises, societal pressure, alcoholism and abuse to name a few, seem to be served up on a plate the size of tea cup.
There are some great examples of elevated and intriguing tracks that can truly capture your attention, but that can be overshadowed by the almost generic attempts at Indie Rock / Pop Punk hybrid instalments that don’t really contribute much to the overall theme of the album whether lyrically or instrumentally speaking.
Highlights from this explorative record are rare amongst the assortment of type-cast musical endeavours that can be identified as good, but not greatly elevated to a standard of rival tracks featured on this ten part disjointed narrative. Such honourable mentions include ‘Executive Summary’ and ‘For The Parish’.
‘Executive Summary’ is just that, a summary of the key points Ryan wishes to explore across the overreaching story arch, including the treatment of others, toxic family ties, political upheaval etc. Which are all very simplified in its form, but also thought provoking at the same time. The instrumental in retrospect can resemble the feeling of almost looking above oneself surrounded by the wilderness, while an uneasy sense of calm and anxiety grows from inside and creeps up around you from within the foliage. It is exceptionally mentally stimulating with its picturesque pop in moments of pure delight as the track reaches its satisfying climax.
‘For The Parish’ is an interesting venture that bears resemblance to a slow paced Black Foxxes. Its ominous atmosphere echoes the efforts of ‘Executive Summary’ perfectly while exposing a more insecure side of the singer’s personality which can call into question that track’s appeal. Across the production of this interesting dialogue two perspectives come to light that can liken this track to marmite, mainly due to Ryan’s unwillingness to be open and honest with his feelings, but also his internal dialogue into why he’s questioning his efforts is also rather intriguing to dissect.
Despite looking like it's heading in the right direction on several occasions it's hard to deny this record is let down by its strangely concocted execution. A most notable issue on the album comes in the form of its final track ‘Appendix A B C’, which harbours some exciting promise with no proper pay off. Its delivery is that of a badly recorded YouTube cover circa 2010, where unfortunately Ryan’s beautiful voice is ruined by the lack of audible lyrics being sung due to the poor recording standards.