WE WERE PROMISED JETPACKS: IN THE PIT OF THE STOMACH
[rating: 3.5]
We Were Promised Jetpacks: In the Pit of the Stomach
Label: Fatcat Records
Release date: October 4, 2011
When people think of Scotland, three things come to mind – kilts, haggis and the Loch Ness monster. This is a fact and to be honest, it’s quite comprehensive. But after spending a decade living there one year, I quickly realised that beyond prehistoric urban myths and (surprisingly delicious) sheep innards, Scotland has a thriving music scene with a wealth of burgeoning talent and a handful of next-big- things.
For the uninitiated, We Were Promised Jetpacks (WWPJ) build on the reputation of fellow countrymen, like Belle and Sebastian and The Fratellis, falling somewhere along the spectrum between the formers’ poetic melancholy and the latters’ sanguine sing-alongs. Their debut album, These Four Walls (2009), put the Edinburgh-based quartet on the map, seeing them tour America and later open for Jimmy Eat World. Several singles achieved commercial success and served as soundtrack fodder for U.S. TV shows and a film (okay, so it was Hall Pass, but still).
The big question, as with most second albums, is whether In the Pit of the Stomach is a display of maturity or a sophomoric slump.
The opening track, “Circles and Squares”, starts with a cacophonous intro and immediately it’s apparent that compared to These Four Walls, vocalist Adam Thompson is lacking his former energy and passion. Confusingly, it somehow manages to gracefully evolve and ramp up to a powerful crescendo. The reward is a beautiful, contemplative instrumental ending that ultimately saves the song. Nonetheless, noticeable dissonance at Track #1 is never a good thing.
“Act on Impulse” is arguably one of the best tracks on the album. The addictive opening of punchy guitar riffs and drumming goes on for over two minutes and is gentle, upbeat and calming. An ethereal cadence and the songs’ raw lyrics show just what WWPJ is capable of, proving also that Thompson does indeed have the ability to stir emotions without needlessly yelling.
Expectations are lowered in “Through the Dirt and the Gravel”, which is chaotic and frenetically paced. Thompson’s vocals are grating and dispirited; one gets the feeling he can’t wait for this song to end either. While bassist Sean Smith and guitarist Michael Palmer struggle to salvage and inject some much-needed energy, the track sounds like something from a high school battle of the bands.
If you listen to just one song on In the Pit of the Stomach, make it “Sore Thumb”. This autumnal anthem is a modern-day lullaby for 21st century youth. To the social media weary, the indifferent, the young-and-already-blasé, and the confused and searching – this song is yours. It magically encapsulates the orchestral grandeur of Arcade Fire and fuses it with the strengths and personality of WWPJ, notably the exuberance that was abundant in their debut album. The result is nothing short of a poignant indie masterpiece fit for heavy rotation.
Like my year abroad in Scotland, the album avoids any middle ground, favouring an emotional rollercoaster approach instead. Thrilling highs or dramatic lows. Love or hate. Fish or chips. So what’s the verdict – sophomore slump or does WWPJ soar up into the strata? It’s actually not easy to tick either box definitively. In the Pit of the Stomach lacks the gumption and cohesiveness of These Four Walls, which was full of youthful vigor. It is decidedly the awkward, evolving adolescent phase of the band, and while there are moments of beauty and revelation, the underlying discordance shows that WWPJ are still finding their feet. But then, aren’t we all?
-Des Carter
