The Imbeciles

Dissolution Sessions (2020)

Chris DC

The Imbeciles are growing right before our eyes. Following their 2019 self-titled debut, the band is already shifting their sound and their lineup, as showcased on their new EP, Dissolution Sessions. The sextet on The Imbeciles were widely experimental, aimlessly weaving together bouts of shoegaze and post-hardcore. It was, in fact, very well done. However, for Dissolution Sessions, and assumingely for the foreseeable future, the band has shrunk down to four members who bring a different kind of ruckus.

The playfulness of the debut remains, it’s just much more focused now. The lead-off “Yes I Am” is a radio worthy throwback to glam rock and Britpop, while “Medicine” is a tightly wound, bass driven post-punker. As you’ll find throughout the EP, the two songs come with quite different styles, but unlike on The Imbeciles, the grab-bag is much more concise here.

“Sunday Leaguer” stands out as a snarky soccer ode (inspired ever so rightfully by the glorious atmosphere at Selhurst Park), complete with supporter chants. While I’d love to go on about the subject matter, it’s the tone here that’s most important. Very much like on “Sad Case” later on, it’s singing/speaking mixed vocals over a focused fuzzbox and snappy drums cannot help but call to mind “Parklife”, the quintessential quirky standard of pre-Blur Blur. Not bad company to be in.

Coming out of left field is “One Man Band”. The Cockney accent goes away completely here. Instead we have an American jukebox ballad of yesteryear (OK, the mid-70s). The story follows the titular sidewalk performer, perfecting his craft when he can and moving on when he’s told to.

As The Imbeciles quickly evolve, Dissolution Sessions will likely be known as their turning point, however early in their career that it is. It’s a polished transition; brimming with tight arrangements, and stingy on excess. It’s Britpop for anyone who missed it the first time, and post-punk for anyone who never let go of it.