Mclusky’s Return: A Deep Dive into The World Is Still Here and So Are We
The prospect of a Mclusky return was an odd one. Over two decades after the release of The Difference Between Me And You Is That I’m Not On Fire, expectations for a new record were uncertain. With the passing of Steve Albini and the evolution of projects like Christian Fitness and Future Of The Left, it was clear that this wouldn’t be a straightforward continuation from albums like Mclusky Do Dallas. Instead, The World Is Still Here and So Are We emerges as an intriguing response to that uncertainty—a frenetic, tense album that draws from Mclusky’s back catalog while also expanding their sound through the members’ diverse experiences over the years.
Opening Tracks: A Bold Statement
Kicking off the album, “unpopular parts of a pig” embodies the ideal return one hopes for from a band like Mclusky. The precise, rabid interplay among the musicians, combined with acerbic lyrics delivered in a bizarre, effected manner, sets the tone. Falco’s unique, fox-wailing harshness interrupts the flow, creating an irreverent mission statement that feels fitting for Mclusky’s comeback.
Following this, “cops And coppers” showcases a muscular, precise rhythm reminiscent of much of Future Of The Left’s work. It’s a more traditionally rocking song than one might expect from Mclusky, making it more palatable in its delivery. In contrast, “way of the exploding dickhead” features a familiar two-note ostinato, echoing the chorus of “Falco Vs The Young Canoeist.” The tension in both tracks remains unresolved, with “way of the exploding dickhead” feeling oddly muted. In retrospect, it seems an odd choice for a lead single, as it neither encapsulates the album’s sound nor possesses much standalone appeal.
Exploring the Album’s Depth
“The battle of los angelsea” stands out with its thick, dominant sound, leaning towards the heavier end of Mclusky’s catalog. The mounting intensity through subtle instrumentation and overdubs is signature Mclusky, shaking mountains despite being a three-piece setup. However, “people person” feels comparatively flat and underwritten, saved mostly by snarky vocal delivery and witty lyrics. The lead guitar moments feel anemic, resembling a typical guitar freakout but suppressed by the weight of the production.
In a surprising twist, “competent horse thief” introduces a smoother track with slick bass and sparser percussion. The backing vocals in the second half evoke a chilled-out version of hardcore gang vocals, creating a unique atmosphere both within the album and Mclusky’s discography.
A Shift in Energy
After a series of low-end intense tracks, the album finally delivers a full-force assault with “kafka-esque novelist franz kafka.” This short, explosive song captures the band’s biting lyrical style while retaining their trademark irreverence. “The digger you deep” presents a grand sound, though its main hook never fully grips, caught between traditional melodic flair and noise-punk bitterness. An alternate version focusing more on sour anti-melodies could have strengthened the track.
“Autofocus on the prime detective” features the clearest rhythmic identity on the album. The rigidity of the instrumentation paired with throaty, strained vocals creates a palpable energy, making it a highlight.
Slower Tracks and Their Impact
“Not all steeplejacks” takes a slower approach, with a deliberately labored lyrical stretch. Mclusky manages this transition gracefully, crafting a track that, despite its dense content, possesses an almost mantra-like quality, emphasized by the variations in the chorus. Known for their loud and fast reputation, Mclusky thrives in slower-paced tracks that carry a scummy undercurrent of threat.
“Chekhov’s guns” features chugging, stern bass riffs complemented by militaristic percussion, only to be betrayed by off-kilter guitar work and increasingly unhinged vocals. This track showcases great progression, revealing new elements with each listen. Following this is “juan party-system,” perhaps the most vintage Mclusky track on the record. Brief yet blistering, it features barked vocals that render the lyrics like demented campaign slogans.
A Climactic Finale
“Hate the polis” serves as a massive highlight in the Mclusky catalog, culminating the album on a high note. The track’s explosive climax unites all the disparate elements of the album, merging its sourness and brightness into a congealed, filthy eruption of rock music. The chirped backing vocals are an inspired choice, elevating the track to new heights.
This closing track reassures listeners of Mclusky’s prowess, showcasing their best work even 25 years into their career. If that isn’t a cause for celebration, what is? Whatever the future holds for Mclusky, The World Is Still Here and So Are We stands as an excellent note to close on.
The World Is Here and So Are We is out now on Ipecac Recordings.
