Demob Happy make a glorious racket on The Grown-Ups Are Talking, an album that pulls from all sorts of corners of rock music. There’s a grimy, sludgy, industrial edge to some of it, with fuzzy guitars, pounding drums, and a healthy dose of glam-rock attitude. At times, it feels like Monster Magnet colliding with Nine Inch Nails, while elsewhere the music wanders into psychedelic rock, 70s hard rock, power pop, and 90s alternative.
It’s dark makeup, glitter, leather, and a whole lot of attitude. Despite all that noise, there’s a surprising amount of melody and groove. These songs are heavy, but they’re also catchy, often with a rhythm that makes you want to move.
“Power Games” sets the tone with chunky guitars, industrial textures, and an almost sleazy glam-rock swagger. There’s a terrific groove underneath all the noise, giving the song a catchy, hypnotic quality that makes its darker subject matter even more interesting. It seems to take aim at the pursuit of fame, attention, and validation while acknowledging the temptation to play the same game.
“No Man Left Behind” takes that rhythmic pull somewhere much darker. There’s almost a dance beat lurking behind the song, but it feels like it’s coming from somewhere on the other side of a wall. The person at the center is isolated, struggling with depression and the possibility of suicide. As the music grows louder and more frantic, it seems to swallow everything in its path. The repeated reassurance that this isn’t the day you die gives the song a powerful sense of compassion. It’s an enormous piece of music with a genuinely affecting message.
“Judas Beast” is a fierce blast of heavy rock, with locomotive-like drums, fuzzy guitars, and vocals that sometimes get swallowed up in the noise. There’s a little Judas Priest in more than just the title. The speed and attitude recall their frenetic metal sound, while the psychedelic grime gives the song a personality of its own.
“Don’t Hang Up” offers a striking change of pace. This dreamy, melancholy piano-led song feels almost like a cry for help, with some of the emotional isolation of Pink Floyd’s “Nobody’s Home.” Its placement immediately after the jackhammer intensity of “Judas Beast” makes the shift all the more effective.
“Who Should I Say Is Calling?” heads back into heavier territory, but with a distinctly early-70s feel. The bass and jagged guitar create a wonderful groove, and combined with the vocal delivery, bring John Lennon’s “Cold Turkey” to mind. There’s a theatrical quality to the song, too, as it becomes a conversation between the more responsible side of a person and the impulsive, pleasure-seeking part that refuses to go away.
The two-part “Miracle Worker” takes things in another direction. The first part is a terrific piece of glammy 70s rock, built around a power-pop guitar riff, wonderfully Ringo-like drum fills, and a little Bowie-esque theatricality. Part two gets fuzzier and more psychedelic, with a hazy 90s alternative-rock quality.
“Somethings Gotta Give” is slower and more earnest, and one of the album’s emotional highlights. There’s a grunge weight to it, alongside a classic 70s rock feel. The vocal performance is terrific, particularly as the song builds. It sounds like grief slowly rising to the surface, almost a cry for relief from everything that’s been held inside.
“Little Bird” brings back the band’s heavier instincts, moving between quieter passages and almost punk-like eruptions. There’s a strong British indie-rock feel, with terrific vocal harmonies providing a melodic counterpoint to the fuzzier guitars.
“Give It All To Me” closes the album on a more atmospheric note. It’s dark and introspective, with a little Radiohead in its uneasy mood and a Nirvana-like blend of grunge and Beatles-esque melody. The song gradually builds, opening into an extended, almost psychedelic passage before settling into a contemplative finish.
The Grown-Ups Are Talking is a really good rock album because it remembers how much fun rock music can be. It’s loud, messy, catchy, heavy, and weird, constantly moving between different sounds without losing its identity.
But there’s more here than a collection of great riffs and noisy arrangements. The album explores grief, depression, isolation, betrayal, self-doubt, and the destructive parts of human nature. What I find particularly appealing is the empathy with which it approaches these subjects. These aren’t just emotions being dragged into the light for examination; there’s an understanding that people are complicated, that we don’t always like the things we find in ourselves, and that those feelings deserve some grace, too.
For all its darkness, this is a surprisingly generous record. It’s a wild, entertaining ride through rock music with a genuinely big heart.
Verdict: Good
Explore more from Demob Happy
Official Site | Spotify | Bandcamp