SUDS - ‘The Great Overgrowth’ review
SUDS by Andrew Gooding
I’ve been dying to talk about this record. We first met the SUDS crew at 2000 Trees, just a few short months after announcing they’d joined the Big Scary Monsters roster. We knew there was something special as a captivated audience swayed under a canopy of evergreen to SUDS’ sweet, honest and otherworldly tunes. Now with the release of The Great Overgrowth, you’d be forgiven for feeling shocked to learn it’s only their debut album.
We learned when chatting that this record would be a continuation of the themes explored in their debut EP, In The Undergrowth, Jack Ames (drummer/vocals) sharing:
With the EP, we had a concept of using nature as a way to describe how you're feeling. Something we talked about a lot was the concept of being stuck in the weeds…we wanted to use that as a way to describe what it’s like living in your 20’s in today's world. The next project is a continuation of that theme; using nature again to symbolise how you're feeling.
But if anything can be said about this debut effort, it’s far more than a continuation. SUDS have created a complete statement that efficaciously explores the earnestness so familiar to the human experience.
The Great Overgrowth opens with Maisie-Mae Cater (vocals/guitar) singing softly over gently strummed guitar for the opening phrase, then joined by Ames in the second phrase before a kick of the drums hits you in the gut and opens to a wave of guitar and emotion. There’s a familiarity to this opening track, “A Terrible Thing”. When the song first played, an unexplained intuition told me I could sing along. Of course I had no idea of the words or where the song was going, but it felt…familiar. Comforting. All the while, guitars swell and circle round and round while the protagonist exists in pensive, anxious thought.
This subtle juxtaposition features throughout SUDS' music; be it in the soothing melodies and anxious emotions or the interplay of gentle vocals with gritty instrumentation. But there is a softness in The Great Overgrowth that we haven’t quite seen in previous releases. It's as though the band are extending a hand of forgiveness towards themselves for the complex emotions, vulnerability and the ever-present tension between life's contrasting moments.
Sonically, we can easily see the band's unique fusion of midwest emo and folk influence. None more so than in “Hard For Me”, the albums third track and second single. Driving drums and melodic guitar, married with the quintessential folk male/female octave harmony lay over a fuzzy bed that feels both cosy and angsty. Bassist Harry Mitchell and guitarist Dan Godfrey add tasteful embellishments to the music, never overshadowing the core elements. Godfrey's guitar work, in particular, offers a sense of lightness reminiscent of the wind blowing through summer leaves, balancing the power and grit necessary to prevent their sound from becoming overly cheerful.
Introducing a lyrical layer, SUDS' exceptional songwriting radiates brightly, piercing "through the overgrowth" in every track. The album's second track, "Changing," presents an intriguing feat as the group seamlessly repeats the chorus six times within a mere 2 minutes and 13 seconds. Their ability to build and sustain unique interest with each iteration is nothing short of captivating.
Meanwhile, within the heartfelt confines of "Freckle," a personal lyrical favourite emerges. Cater repeats "Feels like I've waited my whole life again" striking a universal chord that on its own, will offer solace to many listeners who feel like they’re just killing time. As the band joins in, for what is fast becoming recognised as the "quintessential SUDS shout," the instruments suddenly intensify and the group collectively proclaims a subtle yet impactful alteration: "Feels like I've wasted my whole life again." This subtle shift is powerful, conveying a sense of exasperation, exhaustion and irritation at the realisation that time and chances have been squandered.
There’s an effortlessness across every track and every moment of this album, but something simply has to be said about “Howl”, a haunting composition effectively captures frustration and longing in a mere 1 minute and 28 seconds and 13 lines of lyrics. Its brevity only enhancing its emotional impact.
A special surprise comes in the form of “The Great Overgrowth”, the album’s third single and the only track to feature a guest. Cal Hudson, fellow-Norfolker, BSM-mate and Other Half frontman, joins the track harmonising throughout as well as soloing the second verse. We love to see friends supporting friends, and the relationships blooming in the Norfolk scene right now are just heartwarming.
Without listening to the track, one might assume that Hudson's characteristic shout-singing is too harsh for SUDS’ gentle phrasing, but it’s that juxtaposition coming together so beautifully again. The band maintains a noisy base that easily keeps pace with Hudson, before balancing at the bridge with SUDS’ mellow hook, and ramping up again for a big finish.
The story culminates in the album's final track, “Overgrown”. From its opening, there’s something grand and all encompassing about this song, reading like the final scene of the movie as the group of friends walk off into the sunset and the credits begin to roll.
Calling this a mature and cohesive record feels somehow insufficient. The Great Overgrowth is an arrival; a remarkable and resonant addition to the scene. I was only disappointed by its brevity. With a runtime of just 27 minutes, I for one could have lived in this record for much longer. It will undoubtedly be a poignant companion for anyone seeking direction and hope in a season of change. It’s definitely joining my list of top releases this year.
The Great Overgrowth from SUDS is out now via Big Scary Monsters and available on all good streaming platforms.
