For most of Viagra Boys’ current fans, the primary aim of this fourth album is likely to serve as a catalyst for enhancing the band's cult live performances, as the Swedes have spent a decade creating a wave of electrifying moshpit energy worldwide. However, ‘viagr aboys’ resembles a metaphorical onion that has been stored in the fridge for a bit too long; its origins are questionable, and it's not something most would want to handle directly, but it is - let’s get to it! - still multi-layered. The opening track ‘Man Made Of Meat’ delivers a surprising jolt, with its proto-punk vibe colliding with an unexpected (and rather crude) allusion to the death of Matthew Perry, demonstrating that this is not merely a revival of the 1970s. Meanwhile, ‘Dirty Boyz’ edges towards an indie sleaze sketch, reminiscent of an artist's interpretation of LCD Soundsystem or a tribute to Primal Scream, limited to the material from ‘Screamadelica’. Consequently, ‘viagr aboys’ starts to take on the feel of a spiritual counterpart to Liam Lynch’s notorious early 2000s piece ‘Fake Songs’, rather than a direct sequel to the band’s established post-punk style. Similar to the earlier album - which included the brief dance track ‘United States of Whatever’ - the band has described their songwriting as incorporating “a little bit of everything,” landing them in an exciting space between impression, parody, and homage: ‘6’ has a brooding quality reminiscent of The National, while ‘Story Policy’ crackles with the energy of an IDLES track (and if Sebastian Murphy’s emphatic delivery of the titular “policy” seems unintentional, its likeness to Joe Talbot’s style is striking). Additionally, the hypnotic synth line and chaotic buildup of ‘You N33d Me’ evokes early LCD Soundsystem again, and the more laid-back yet still striking closing vocals of ‘11’ hint at Elvis Costello. Unsurprisingly, one wouldn’t anticipate a band whose breakout came from listing physical activities over heavy post-punk to approach the idea of ‘mixing things up’ in a scholarly manner, but the – dare I say – whimsy that flows through ‘viagr aboys’ is more than enough to expand audiences’ expectations of the group.
Drawing inspiration from Paul Simon’s intricate and enchanting disorder, Olive Klug’s “Train of Thought” offers a quirky, rapid journey into the essence of chaos, creativity, and self-identity. This exhilarating explosion of abstract lyrics and liberated self-expression showcases the singer/songwriter at their most playful and free-spirited, racing forward with enthusiasm toward their highly awaited second album, ‘Lost Dog.’
Capturing the vibe of early 2000s alternative radio.
A lot to expand the audiences' expectations of the group.