Review: Cassels ‘Tracked In Mud’
Cassels originally hailed from Oxford (home to one of the country’s top universities, a grumpy detective who goes by the name Inspector Morse and shoegaze legends Ride) before relocating to Harringay, North London, are the brothers Beck; Jim on vocals, guitar, keyboard, piano and Loz on drums, percussion and vocals.
Prior recordings include the We Wander In The Night / Rinse And Retreat 7”, the 2015 Hating Is Easy EP, the 2016’s Flock Analogy single, the You, Us And They EP and a split 2023 single with Leeds Beige Palace titled Waterloo Sublet + About Not Writing. Meanwhile, full-length albums include 2017’s Epithet, 2019’s The Perfect Ending, 2022’s A Gut Feeling and now of course Tracked In Mud.
Interestingly, the overwhelming majority of the band’s output features a different variation of the same cover art, an enigmatic A type symbol, possibly signifying unity between the two brothers, somewhat reminiscent of the ethos behind the Hüsker Dü logo. The album follows a period of absence for the band following burnout from a heavy touring schedule, as well as, according to the promotional notes, Jim growing ‘tired of his last record’s overtures at pop culture’, therefore there is a promised change in direction; heavy and weird.
Nine Circles showcases Cassels newer, heavier, post-hardcore sound with an accompanying harsher vocal style, a perfect fit for the Human Worth label (Kulk/Torpor/Remote Viewing). It’s certainly a marked contrast to The Fall influenced post-punk and clever word play to be found on their previous releases, though it’s still one packed with dynamism and melody. A superb opener.
Here Exists Creator takes on noise-rock and math-rock with nods to bands such as Shellac and their album Excellent Italian Greyhound, while fans of Future Of The Left may also get a kick out of it, and like the latter, the vocals are sung in an English regional accent as opposed to adopting an American twang. A less accessible track to Nine Circles and one that requires a greater degree of patience, though perseverance has its virtues as is proven here.
newer, heavier, post-hardcore sound with an accompanying harsher vocal style, a perfect fit for the Human Worth label…
…And Descends recalls one of my all-time favourite bands, the criminally overlooked and underappreciated Engine Kid. A band who embraced Slint’s pioneering post-rock but who, at the same time, weren’t afraid of experimenting with a sludgier, metallic sound. A ringing endorsement if you hadn’t already guessed.
Formaldehyde Time offers up fond nostalgia for fans of the band’s more minimalist repertoire, ala the aforementioned The Fall, albeit with subtle hints of Fugazi and Swans, particularly the relentless grind and hopelessness of the latter. Every Castle’s Crumbling King is a much quieter, subdued number and the most overtly ‘indie’ sounding, though with a great deal more invention than your average band from that genre.
Two Dancing Tongues is distinctly sludgier, particularly the second half with moments of heaviness you wouldn’t necessarily associate with the band. If the likes of Burning Witch and Khanate float your boat, I’d certainly recommend this, sublime. Converge were mentioned in the album’s promotional notes and the influence of that band’s cathartic metalcore can certainly be felt on Indigene.
Finally, Nature Hates A Vacuum, the album’s longest track at almost nine minutes, takes you down a Pink Floyd route, illustrative of the band’s ever increasing musical scope and ambition. Its possibly the most progressive sounding track in the band’s catalogue and one that concludes the album in both a challenging and epic fashion.
Tracked In Mud has the potential to disappoint long-term fans given its fuller, abrasive sound, however, after several records, it’s understandable the band would want to shake things up. It may take a few listens to fully digest, but the results are well worth it.
Label: Human Worth
Band Links: Official | Facebook | Bandcamp | Spotify | Twitter | Instagram
Scribed by: Reza Mills
