Album - Adebisi Shank

This Is The Third Album Of A Band Called Adebisi Shank

Along with the Redneck Manifesto, Adebisi Shank have, over the past decade, spearheaded the instrumental rock scene in Ireland that spawned the likes of Bats, Enemies, and the juggernaut that is ...And So I Watch You From Afar.

All of these acts, and more, were housed under the Richter Collective label, really making it seem like this was a happening, a move away from the stereotypical, dreary folk singer to a band that actually wants to have fun. But Richter has been gone for two years now, with the US label, Sargent House, stepping in to provide a home for some of these acts, including Adebisi Shank and ASIWYFA, whose last album, though winning them plenty of new fans and continuing their endless tour, swapped heavy riffs for a cluttered, alt-pop sound.

Adebisi Shank have always been the crazy gang of Irish music — that name, the fact their bassist wears a big red mask for their gigs — so maybe it’s best to keep an open mind heading into their obviously titled third album. But featuring a bulging bodybuilder whose head is replaced by an exploding lightbulb, it’s tempting to see this as too many ideas proving too much for one listener to take in 35 minutes. ‘World In Harmony’ kicks things off in similar fashion to previous-album opener, ‘International Dreambeat’, but it’s hard to not raise an eyebrow at where things go from there. ‘Turnaround’ and ‘Chaos Emerelds’ are a mess, trying to mix trad with bleeps and riffs, and falling flat each time. ‘Mazel Tov’ should return its saxophone to the ’80s and ‘Thundertruth’ sounds more like a children’s TV theme tune than a track on the third album of what, up to this point, has been one of the most important Irish bands of the 21st century.

‘Sensation’ sees Adebisi Shank borrowing heavily from former label mates, Not Squares. By the time ‘Voodoo Vision’ tries to remind listeners why they’re still there, it’s too late. Maybe it’s time to find the dreary folk singer again.