genres: post-hardcore + alternative rock
The mixture of sounds – soulful vocals with absolutely crushing guitar melodies – is not new. In fact, it’s one of the more well-trod genre variations within modern alternative rock. That’s to say there’s anything bad, or even derivative, here. In fact, Holding Absence have perhaps accomplished a rare feat. They’ve taken a well explored area of music that is home to many standout releases from both classic and modern staples, and somehow elevated it. There’s an artistry and subtlety present throughout The Greatest Mistake of My Life that’s unusual to encounter in a genre release this catchy and accessible.
Vocalist Lucas Woodland is the most immediately noticeable strength of the group, and the performance here is something that stacks up favorably against any of the literal thousands of bands I’ve listened to. Take a listen to the opening of either “Afterlife” or “Nomoreroses” for a sense of the capabilities here. Both polished and powerful, the vocal performance is incredibly precise with a massive range perhaps reminiscent of Stephen Christian of Anberlin. More than simply technical excellence, there’s an emotional quality that can convey multiple feelings (sometimes contradictory) at once in an amazing visceral way. In this respect, Geoff Rickly of Thursday comes to mind. The rest of the band isn’t exactly slacking either. Though there’s not a lot of showoff moments for the instruments, there’s again a precision and emotion that’s always perfectly timed to the ambient leads and atmospheric chugs. Everything works together exactly how it should. There are a couple very subtle tricks that set the band apart even here. Bringing shimmering post-rock guitar work into poppier genre cousins isn’t new, but Holding Absence are careful not to rely on this as a crutch. Sometimes a guitar riff in this style will pop up for just a few seconds, before dropping back into the previous sound, giving just enough to keep careful listeners on their toes. For the drums, there’s a very interesting emphasis on groove on otherwise restrained songs like “Celebration Song” or “In Circles” that’s unusual for the genre, yet incorporated so smoothly it took several listens to catch.
Lyrically, the band again punches well above even the exemplars of the genre. Although there’s no narrative between tracks and everything works totally fine individually, there’s a consistent set of conceptual motifs that appear on nearly every track on The Greatest Mistake of My Life. As the title alludes to, much of the content relates to love and loss. The album certainly has a melancholic tone, but it’s not all pessimistic. Both the rigid musical structures and lyrical compositions create an atmosphere that is somehow evocative of period English romanticism despite the thoroughly modern tones. It’s a bizarre image, but I can’t imagine a better modern rock band to score a Jane Austen movie. Perhaps aiding this comparison is a healthy usage of religious metaphor that is simultaneously reverent and decidedly non-spiritually directed. Faith, prayer, heaven and hell are all references towards the trials and joys of love, borrowing transcendent language for experiences that defy basic description, while being careful to never be flippant. For indifferent listeners, it’s a cleaver literary device. For devout listeners, it reflects the spiritual realities accurately.
Anytime I find a release that succeeds this well on any category among literary/thematic merit, musical perfection, emotional resonance, or pure catchiness. With the combination of everything this album brings to the table, it will be a hard release to top in 2021, even among all the amazing releases lined up for the next few months…
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