Algiers’ eponymous debut album deftly blends gospel, punk, and electronic rock
In the wake of the U.S. Recession and the unrest in Baltimore and Ferguson, racism, capitalism, and post-colonial struggles have taken a forefront in the media in recent years. Despite this increased exposure, these subjects aren’t exactly polite dinner table conversation topics. But on their eponymous debut album, Algiers prove they aren’t afraid to tackle these issues head-on.
Like many others, Franklin James Fisher, lead singer of Algiers, struggled through the 2009 financial crisis. He eventually found a job at a New York investment bank, which he described as “an old boys’ club” where racism and sexism ran rampant. In interviews, Fisher cites similar experiences growing up in the American South as an African-American. However, it was during this time period that he discovered his lifelong love of gospel music.
Fisher and his band also cite far-ranging musical influences from hip-hop group Public Enemy, to 70s punk band Suicide, to Nick Cave and the Bad Seeds. These influences and experiences weave together to create an album that deftly blends gospel, punk, and electronic rock to deliver hard-hitting social commentary.
The album begins with the brooding “Remains.” A long, low note fills the background of the song, punctuated by heavy claps and stomps like the sound of marching soldiers. “We’re your careless mistakes / We’re the spirits you’ve raised / We are what remains,” states Fisher in the haunting chorus, his voice at times breaking into an impassioned shout. It’s a voice that will become interwoven with the rest of the album; it’s pleasing enough to create harmonies, but with enough rawness to add a sense of honesty and believability to his message.
The album transitions into “Claudette,” a fascinating mix of dark, gospel-like harmonies and fuzzy electric guitar. “And When You Fall” is equally brooding, but oddly danceable, with strong influences of electronic rock. Near the end of the song, a creeping bassline emerges that wouldn’t be out of place on a Timber Timbre track.
Bitterness oozes out from between the thumping drum loops and call-and-response vocals featured on “Blood.”
“Four hundred years of torture / Four hundred years a slave…So drown in entertainment / ‘Cause all our blood’s in vain,” Fisher sings, citing the erosion of history and his refusal to allow it to forgotten.
“Iron. Utility. Pretext.” is another standout track. A stark electronic drumbeat creates a machine-like background beat, but the lyrics, half-sung and half-shouted, build up intense emotion. It’s another oddly danceable song that—in melody, at least—is catchy enough to be played at a club.
Algiers have put out an impressive first album that’s both lyrically and musically intelligent. Algiers may be catchy, but it’s also got something truly important to say. I get the feeling that if people aren’t talking about this record already, they will be soon.