Crawlers proclaim their vulnerability on The Mess We Seem To Make
"The Mess We Seem To Make"
With the release of their keenly-awaited debut, the Liverpool four-piece are here to prove they're more than yet another band with a one hit wonder.
The Mess We Seem To Make, featuring their 2021 hit “Come over (Again),” is an intimate soundtrack to those burgeoning teenage to early-20 years that are rife with moments of self-discovery as well as complicated emotions and relationships. Or, in this instance, 'situationships' might be more apt.
The album starts with “Meaningless Sex” – a surprising choice as an opener with its slightly prosaic chorus, relative to the strength of the other songs. However, any scepticism is short-lived because “Kiss Me” sounds like a fun throwback ride to 90s pop-rock. Lead vocalist Holly Minto’s voice is gutsy and unafraid to match the equally uninhibited lyrics about toeing the line between carnality and love. It captures what Crawlers is all about – they proclaim their vulnerability boldly, a style that fosters the important safe space they give to many in the queer community.
Taking a darker and moodier tone, “Hit It Again” is like reading a diary entry from someone’s day after the night before as Minto ramps up with, “I only feel alive when I’m not in my head.” The push-pull between living the high life and being okay with the mundane is reflected through the crescendos before each stomping chorus kicks in.
“Would You Come To My Funeral” is again a tight production, bringing both the soft and fast-paced which pairs well with the agility of Minto’s vocals. The tone is then entirely reversed with “Golden Bridge,” a piano ballad with anguished lyrics; “The night is back and I stare at the Mersey / You were worth every tear in the end.” It’s reminiscent of a downbeat Olivia Rodrigo song, and while it nicely showcases Crawlers’ ability to play for a wider audience beyond the pop-punk heads, it’s a bit of a square peg on the album. Showcasing their versatility works well however on their single “Call It Love,” which is tinged with tender shoegaze guitar.
The Mess We Seem To Make is an impressive coming-of-age record, and despite its generational angle there is a certain star quality in being able to take people of all stripes with them too. If it’s not through instantly relating, then it’s enjoying its sense of nostalgia.
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