A raw, untamed embark on the transient adventure of teenage rebellion.
Bilk’s sophomore album boldly amplifies the triumphs and setbacks a life of thrill and adventure holds. The band features Sol Abrahams as lead guitarist and vocalist, Luke Hare on bass, and Harry Gray as the lead drummer. The three-person group is centered in Essex, UK, and with that comes an album intertwined with personal anecdotes ranging from love and lust to anger and vexation. Regardless of the emotion felt, it’s clear that this project comes from unapologetically making mistakes and, more importantly, living honestly and boldly.
ESSEX, DRUGS AND ROCK AND ROLL begins as a punk rock project, with the first few tracks implementing thunderous guitar riffs and addicting bass lines. After an initial listen, there is an immediate sense of nostalgic sounds, ones only heard in the 90s in bands like “Green Day” or “Blink-182”. This echoing genre embodies “teenage angst” and the dissonant sentiments of being young and dumb.
However, the project shifts from an alternative rock-like sound to incorporating a more tame, indie one heard on select tracks on the rest of the album. “Summer Days” is striking, as the juxtaposition between its surf-rock instrumentals and lyrics, compared to the hard-hitting songs heard previously, keeps the listener engaged and wanting to hear more. Similarly, “Tommy” is a seemingly simple love story, which turns into a “hate song” with Abrahams’ voice accompanied by merely a guitar and his resentment towards a past lover. “I hate everything about you” is repeated, proving that within this song and project, not everything is as it seems.
The album, in its entirety, depicts various aspects of being teenage and reckless. The opening track, “Rnr,” jumps at the listener with exotic and electrifying vocals and instrumentals. “Don’t know where we’re going, but we know where we are” is repeated throughout, proving Bilk’s satisfaction with living fearlessly despite not having a linear path: a path most teenagers face. Likewise, “F Up” and “Very Nice Life” accentuate a wild tale of impulsiveness and partying. The latter, mentioning “I feel like I should be king, ” stresses the confidence and self-assurance one might feel while young.
The record features exceptionally catchy and note-worthy instrumentals. “Tommy” is unstoppable, featuring gritty, raw vocals with striking instrumentals and guitar solos. Equally, “On It” features an encapsulating bass line and echoing backing vocals. The depths and echoes of sounds create a mesmerizing juxtaposition from the raw melodies featured on the track; the layers are placed exceptionally well.
Although the record displays wide-ranging complexities, its childishness sometimes renders it off-putting or uncomfortable to its listeners. However, this choice seems somewhat purposeful, as the term “slag” features Abrahams calling himself a “slag” after describing these “cringy” and overly sexual acts. The self-awareness raises the interrogative of where adventure crosses the line of sheer childishness. Regardless, the project embodies all of teenagehood: the good and the bad.
Overall, ESSEX, DRUGS, AND ROCK AND ROLL is an extensive and captivating narrative, implementing various sounds and instrumentals to illustrate the adventure, wanderlust, and desire for connection both Bilk and the kids search for.
