O.Children - Apnea

O.Children’s self-titled debut was one of the revelations of 2010 and a surprise candidate for Album of the Year. London’s gloomiest band aren’t anywhere near as under-rated now and boasting one of the UK’s best vocalists, the soulful colossus Tobi O’Kandi shuffle uncomfortably in a spotlight of expectation. At the end of the album’s 11 tracks it was certain: If British post-punk was extroverted enough to have a flag, O Children would be flying it. Possessing, as they did, a gloom and eeriness that made the likes of White Lies and Editors look like Hannah Montana cover bands. Now we come to sophomore offering, Apnea.

With opener “Holy Wood” O.Children re-introduce themselves with much of what made the first album so good, the claustrophobic moody post-punk. The track descends into an orderly but oppressive squall reminiscent of the breakdown in Interpol’s ‘The New’, which as things to be reminiscent of go is a very good choice indeed . “Silence won’t give us a home, violence will give us a home” is the ever-present catchy refrain in second track ‘The Realest’ and does nothing to hide the fact that lurking in the shadows O.Children have a sense for a killer track, as anthemic as it is infectious. ‘Red Like Fire’ is Disintegration era Cure with the chorus from ‘Black Hole Sun’ by Soundgarden and it’s still a fair bit better than that combination looks on paper. Only 3 tracks in and the overriding is impression is that O.Children “get it”. It seems effortless, without ever feeling lazy. It gives them a chance to play around with new ideas and experiment with the ingredients that make up their sound. It’s a good platform to build from, undoubtedly, but somehow fourth track ‘Oceanside’ is too sparse and plain to live up to that promise, yet still undeniably catchy. The next few tracks keep the 80s vibes but push them in a softer indie rock, almost pop direction, except for the synths of ‘H8 City’ adding up to something that could easily be a Metronomy remix of an O.Children B-side. It’s, second-last QOTSAish ‘swim’ and fifth track, and lead single, ‘PT Cruiser’ that prove most worthy of note, the latter being a swaggering garage rock jaunt with its irresistible echoed vocals and driving ever-present riff. The guitar break makes for a fantastic song (possibly) named after a truly horrible car.

Strangely by the end of the final track the impression is that the gloom has lifted from O.Children. Bearing in mind the album is named in reference to the lead singer’s troubles with a terrifying breathing problem contracted while fighting an energy-sapping court-case that effectively robbed him of any nationality, at first glance the lighter atmosphere seems out of place. The tumultuous experience of Tobi O’Kandi’s near-deportation seems to have lead to a greater maturity and honesty. It’s also surely the best example ever of why not to dodge train tickets. Certainly it seems as though the leather studs and gold of O’Children’s debut have been lost in the storm and all that’s left is a weathered but resilient naked optimism. In truth it’s not without flaw and the occasional idea that seems a total non-starter but its compelling as a whole, most of all it gives the impression that with time it may relinquish its greatest treasures. I’m willing to wait. Sometimes it may not be how you want O.Children to sound but it might well be how O.Children most naturally sound and there is a lot to be said for that.