Liverpool Sound and Vision Rating * * * *
The understanding of someone’s self-loathing is arguably often too complex to get to grips with, especially in a place where the often overbearingly optimistic tend to reside. A concern, a World Full Of Worry in a minefield of burden populated by those without disquiet in their minds, for those that live in comfort of mental health it is a small sentence but one that traps the load ever tither on those who carry the cares of others on their shoulders.
We have all been told, almost instructed with an edge of sarcasm in the delivered voice, to be happier, to smile more, that the world is too large for us to care for more than just ourselves; and yet it could be argued that whilst those others may be happier, they somehow miss the point of being human, for those that seek solace in melancholy, they have a finer aptitude to dealing with the problems because they have thought them all through-including responses.
The Peaness embrace this with a smile in their debut album, for as what could be considered confessionals of an aural journal form, tracks such as Kaizen, Girl Just Relax, Doing Fine, the opener of Take A Trip, Left To Fall Behind, What’s The Use?, and Hurts ‘til it Doesn’t, Jessica Branney, Rachel Williams, and Carleia Balbenta pour oil on the happy obsessed and offer responses designed to go with the flow of thought that countenances the authority seeking, and shows rather superbly that you may be under the thrall of sadness but you can make more of a song of it than those who are subject to being rigidly blissful.
A World Full Of Worry is perhaps a more normal state of mind for humanity, that we discard the use of placebo and brain numbing medicine and instead accept that the music, that art, that being true to what it really means to be human is not only a right, for as the songs of wonder and joy are sung, they come from a more honest and forthright place; and one that The Peaness uphold with time and temptation.
The Peaness release World Full of Worry on May 6th via Totally Snick Records.
Ian D. Hall