Album Review - Biffy Clyro : Opposites (2013)

With the arrival of Scottish trio Biffy Clyro's brand new double album 'Opposites', the beginning of 2013 has been a delightful experience for fans of the band, with several live acoustic streams showcasing new songs in all their glory and the monumental announcement of a headline set at this year’s Reading and Leeds festivals. In tandem with these, the band dropped an EP that contained their latest single 'Black Chandelier', along with some fantastic B-Sides and a live version of classic Biffy track 'Many of Horror'. Previously, the EPs that arrive with each single release (in particular those from the album 'Only Revolutions') tend to be a bit more experimental (especially lyrically) than anything that makes it onto the full-length, but with the 'Black Chandelier' EP, everything fitted neatly into the 'Biffy ballad' category, and that's definitely not a bad thing. The tracks were emotive, inspiring and resonating, and they set the scene for 'Opposites' in a way that left fans with unwavering confidence.

‘Opposites’ is a release unlike anything Biffy Clyro have attempted before, the sheer scale of the double album reaching incredible heights and confirming frontman Simon Neil's ability to write a beautiful hook is second-to-none (he wrote the bare bones of much of what can be heard alone). Despite that, it’s the dynamic of the 3-piece that makes this album really special, and although there are numerous extra musical ideas and increased instrumentalism (from bagpipes to kazoos), the basic approach of the group still shines through. Each track is wonderfully crafted and not one feels like filler, which really is an achievement considering the amount of material on both discs of this album, which could be consider thought of as a ‘rock opera’ of sorts.

 

The first half of ‘Opposites’ (entitled ‘The Sand At The Of Our Bones’) begins with a slow build of anthemic synths before opener ‘Different People’ takes off with jaunty rhythms and uplifting melodies. The lyrical content seems to be an extension of what much of ‘Only Revolutions’ explored, with love/life/hope being touched upon in great depth (particularly due to various traumatic experiences the band have gone through in the last few years – including Simon Neil’s wife having a miscarriage and Ben Johnston’s battle with alcoholism). Second track 'Black Chandelier' is a multi-layered masterpiece, the first mutterings of 'drip, drip, drip' captivating the listener before the rest of the band fall in, delicately picked guitar melodies building up an effortless and understated song. It coasts along in the same vein of soothing melody as previous mainstream success 'Many of Horror', but feels impeccably fresh, with standout moments in the form of quirky lyrics like 'a cute little cup of cyanide'. The breakdown towards the end of the song fits perfectly, allowing a different dynamic to rise to the top and polish off what is a real gem of a track.

‘Sounds Like Balloons’ could have been plucked straight from the bands album ‘Infinity Land’, the odd bouncing riffs and edgy lyrics showing the trio at their accomplished and nostalgic best. ‘Opposite’ is a soft and gentle ballad in the same vein as ‘Puzzle’ album closer ‘Machines’. The lyrics are heart wrenching and powerful with elaborate harmonies, making it a beautiful and bold highlight in the early stages of this record. ‘The Joke’s On Us’ sways back to the other end of the Biffy spectrum, with straightforward and punchy riffs combining with a chorus that is sure to have full arenas singing along at the top of their lungs. Garage rock guitars steer this in the post-hardcore direction, the unpredictability of the track making it a fantastic listen.

‘Biblical’ is the centrepiece of disc one of ‘Opposites’, the uplifting quality of the song unlike anything the band have done before. The layers, attention to detail and grand scale melodies make this singalong stand up there with the best Biffy have done before. It’s drenched in ‘next single’ possibility and could be the one to push the three-piece even further into the eye of mainstream music. ‘A Girl & His Cat’ is bizarre yet captivating, the electro notes bringing in jazz infused riffs and stop-start bass licks. The shifting time signatures give this track a consistently addictive streak, which is phenomenally enjoyable.

‘The Fog’ boasts a collaboration with composter Clint Mansell which works impeccably well, driving the track from the disjointed and unnerving to familiar and gorgeous, the synths of Mansell giving it dynamic and interesting progression as the song builds. A flurry of energy ends the track in a breathless manner. ‘Little Hospitals’ is a joy, the playful and punky guitars adding to an experimental edge (that includes the use of a kazoo) making the track a kick-start, bouncy jaunt. ‘The Thaw’ is the finale of the first disc (followed only by instrumental outro ‘The Sand At The Core Of Our Bones’) and uses a thoughtful and measured approach to tie things neatly together at the end of this first half of ‘Opposites’. Simple melodies build with purpose and poise, orchestral layers push it to mind blowing places, the boundaries of what Biffy Clyro can achieve seeming to be blown out of the water.

The second half of the album (entitled ‘The Land At The End Of Our Toes’) begins with the first single from the release, the imaginative and brave ‘Stingin’ Belle’. It’s intense, anthemic and heavy in parts, the additional organs and bagpipes giving it an experimental and classic feel. ‘Modern Magic Formula’ is an intense and swaying beast, driving verses shifting into flowing choruses before it takes a step back, showing off the delicate nature of Biffy melodies and lyrical content. ‘Spanish Radio’ is a lot of fun, the addition of a mariachi band inventive and refreshing, especially in the odd time signature this song is played in. It’s quite a heart-warming experience and that seems to be because it’s so unique – it’s definitely one of those moments where goosebumps are created.

‘Victory Over The Sun’ starts in a gentle fashion with strings giving the track considerable depth. After two understated verses the song kicks up a notch with an exciting and kinetic build before it explodes with heavy chords and passioned vocals. ‘Pocket’ is on the surface, simple and unadventurous, with standard classic rock chords seeming to be played out with a lack of imagination. However, as the track progresses it’s clear to see that unadventurous just isn’t something Biffy Clyro know how to do, which is why this song becomes something enchanting and admirable once it gets into its stride. ‘Trumpet Or Tap’ is a mellow, blues infused number with eccentric timings and extravagant instrumental progression, although this feels as though it could be performed just as effectively by the trio (as do all of the tracks on ‘Opposites’). 

‘Skylight’ is another Clint Mansell collaboration and it works extremely well again, with basic piano notes and soft vocals combining to create something mysterious and soothing. The slow build allows synths and strings to weave wonderful imagery, making this one of the most grand scale tracks on the album. ‘Accident Without Emergency’ now brings this final stretch onto a calming plateau, coasting now with an accomplished soothing ballad that leads into the pop rock slice of sunshine ‘Woo Woo’. It’s fun and fresh, and some of the hooks on show stand right up there with some of the most memorable and delightful Biffy sounds. ‘Picture A Knife Fight’ is essentially as large a finale that the band can produce, and boy does it feel that way. It seems to scrape together every idea and style from the duration of the double album and present it in a creative tornado, cramming plenty into four minutes of Biffy bliss. There’s another instrumental outro (titled the same as this second disc) while allows everything to sink in, allowing hair to stand up on end and butterflies in stomachs one final flutter.

‘Opposites’ is a brave record, not just because it seems to be a very personal album to the band (in ways perhaps that previous offerings weren’t), but because it’s so audacious that it could very easily have been unsuccessful. What’s heard here is far from that, and while many wouldn’t want to get on board with the idea that this is the most accomplished Biffy record to date, as time passes I’m sure that will be the case. It’s the most well-rounded and satisfying of the lot, each track standing out on its own as a strong piece of song writing and each having a unique edge but still retaining that unmistakable Biffy identity. Stand up and take a bow, lads. ‘Opposites’ is a masterpiece.

Biffy Clyro kick off an arena tour in late March and headline Reading & Leeds festivals in August! For now check out this Livestream session with some acoustic versions of tracks from 'Opposites' and Q&A about the album.