Review: We All Want To, The Haze
The opening moments of The Haze set the pace nicely: “Eileen Afternoon” introduces the album with an irresistible riff, while the song slowly builds to its post-chorus release. It introduces listeners to the fuzz-driven sound that characterises The Haze, as well as the loud, live-sounding mix which makes the most of said fuzz.
What’s also immediately evident after the first track is that We All Want To always sound like they’re having fun – “Road To Ruin” is joyful in its undeniable cheer. Even in the quieter, more sombre moments (“Remove the Arrow”), there’s a determination that prevents the album from slipping into malaise. This shift in dynamic throughout The Haze also changes things up often enough that it doesn’t start to drag; however, given the tonal consistency of the album, it can sometimes bleed together at the seams, with the garage-rock sentiment being effectively well done, though at a certain point fatigue can hit – whether it be over-saturation of the genre or just the album.
However, the songs themselves are indicative of the strong song-writing of the band members. Given Tim Howard’s prominent contribution to Australian music (Screamfeeder, anyone?), it’s no surprise. Given that it’s We All Want To’s third release, it should be no surprise. Yet the undeniable sense of feeling and place present within The Haze is nevertheless mesmerising. Essentially, the title of the album is also the most accurate description. There’s irony to be found in that the album is a credit to an attention to detail and keen musical sensibilities. The titular ‘haze’ is not to be found in any form of lazy song-writing, but rather in superior craftsmanship that can evoke such a feeling with deceptively clever and thorough songs.
Review by Adrian Pedić.