I’ll happily admit that this is the first time I’ve taken the time to listen to any Nuns of the Tundra. Safe to say, I’ve been missing out.
This debut album is a triumph. Blending notes of early 2000s nu-metal, some hints of Muse, and even a touch of Ghost, it has produced a piece of work that Troy Tittley, Dan Goode, Hugo Bowman, and Mikey Long should be proud of.
Like the old adage goes, “quality over quantity”, and despite being only eight tracks long, what they lack in album length, they certainly make up for in quality of song (I’ve left out some tracks so you can go and listen and enjoy for yourself — I promise you won’t be disappointed).
The first track of any album should really throw you straight in at the deep end. Like the first chapter of a book, it should set the tone and landscape for the rest of the album — and that’s what The Space Between does. It introduces that nu-metal vibe I mentioned and plays with it in its own unique way. The addition of the distorted vocals adds a certain Muse-like aspect to the song as well. Tonally, the song is strong and, as opening tracks go, it does the job perfectly.
When I said a touch of Ghost, I was referring to this song in particular. If I had to pick a favourite from this album, it would be Solid Gold. In my opinion, it’s the most satisfying listen and the best put together. I don’t say that to diminish the worth of the other seven tracks, as I think they’re all great in their own right — it’s just that this one, for me, stands above the rest. It brings together all of the elements that make a song in such a way that it becomes more than that. The way each instrument — and I’m including vocals in that — plays off each other so satisfyingly really does, for me, make this the album’s standout track.
An interesting choice to name a song after the drummer of The Who, but equally a choice that made me think. An interesting juxtaposition can be found between the destructive personality of the song’s namesake, Keith Moon, and the soft melodic style of the song itself. With that said, I feel as though that perfectly encapsulates the album as a whole. I mentioned at the top of this review how the opening track is like the first chapter of a book. If we run with that analogy, then the closing track should be the ending chapter. It brings together all of the musical motifs — from the distorted vocals to the notes of Muse and Ghost. It ties the whole album together in one summative closing track, while also being able to stand on its own.
If I had to describe this album in three words, I’d call it versatile, accomplished, and a triumph. This may have been my first foray into their work, but it certainly won’t be my last.
The self-titled Nuns of the Tundra album is out now! Find out more about Nuns of the Tundra.
By: Josh John