Post-punk and the Haunting Groove of Shame

Post-punk is a genre that has gained more popularity over time. When Television’s Marquee Moon has developed into an essential listen and Joy Division’s signature album cover is synonymous with some all-time album art, it’s easy to see a possible resurgence on the rise.  Shame is a South London post-punk group signed to Dead Oceans. The group has been active since 2014, but only now are releasing their first full-length record, Songs of Praise.

There is something about Songs of Praise that sticks. “Dust on Trial” brings together a classic post-punk sound of noise that steadily gets more haunted as the song continues. The notes of guitarists Sean Coyle-Smith and Eddie Green steadily go higher into a screeching note, until a climax of “Just one step closer to me” with haunting pauses and deep shouts from vocalist Charlie Steen.

Shame certainly is influenced by their UK brethren. The riff on “Concrete” is almost U2-esque in the best way possible, while the vocals of Steen are at times as charismatic as Johnny Rotten’s but with more subtlety and darkness. “The Lick” has some sort of a spoken word, rap feel to it, as if Steen is talking to the listener as a hesitant bass line from Josh Finerty rings in the back of the poetry. 

“One Rizla” is one of the catchiest tracks on Songs of Praise. It is reminiscent of early Killers and the vocals of Steen are more accepting and jolly, even if the lyrics don’t match that vibe. He sings “Yellow teeth fit in the sleeping bags / Not so good at school but I ain’t bad / I’d rather be fucked than sad / and that’s a start,” while the guitars play a classic alternative rock pattern that is very memorable. “Tasteless” has this hook that “One Rizla” sets the example for, in the post-punk distortion and noise is combined with the indie rock vibe as questionable lyrics like “Sodomy has a place in the past / But now it’s fashionable” are sung.

Although similar in sound at times, Songs of Praise does not drag in any way during the latter half of this record. “Friction” has great background vocals during the chorus and once again catchy guitar work from both the lead and bass. “Lampoon” has almost a Buzzcocks, early punk vibe to it at first, while combining the haunting elements that make Songs of Praise a Shame record. “Angie” is a great comedown from the fast pace that the album brings to the table and closes the record in a way that feels optimistic.