Manchester based band, One Dimensional Creatures are anything but one dimensional. Do not be fooled by that name. The band’s debut album, Tolerance Paradox is ready and waiting to be listened to, and it’s just fourteen tracks of greatness everyone needs to hear.
Starting the album off is the song, ‘Media Mass’. Like every good album should do, it sets the tone, which in this case is a punk fueled collection of songs. Throughout the album, it feels like the band takes inspiration from a lot of other artists, creating a sound of their own using classic components. In this case, with an almost American feel, 90’s retro vibe, there are smatterings of Ash to be heard, but at the same time it is entirely new and fresh. It’s also short, sweet and incredibly catchy and a great way to begin an album.
It transitions nicely into track two, ‘Favourite Saprophyte’, which has more spoken sounding vocals, is fast paced and packed with energy. The general tone remains and it’s really driven by the guitar riff and punchy lyricism. Track three shares similar traits and the odd title, ‘So Long, it’s a Shame About the Fish’, really sticks with you. The varied pacing, mixing fast parts and slow works really well for this one too, as does the millisecond of muted instrumentation that hits hard when it comes back.
Onto track four, which is a personal favourite, ‘A Grudge Against the Few’ stands out if just because of the fact that it is a longer song, being nearly five minutes. As every other composition is short and snappy in true punk fashion, this one feels different with its drawn out, mysterious intro. It’s murky and intricate and more post punk than punk.
We get back to the short songs with ‘Old Tommy’, which has a slow intro before counting in with drumsticks to get into a crazy fast jumble that would have everyone moshing hard and rocking their heads with such force they would get whiplash. Whilst the vocals are commanding and shouty in this one, in the following track ‘Peter Pan’ they are more slack and nonchalant, showing just one instance of the subtle nuances within each song.
Both tracks seven and eight, ‘Bleed the Markets’ and ‘Not Me’ are very short, Not even reaching the two minute mark they are over before they even go anywhere. They feel like more of an interlude, but ones that have an aggressive punk force driving them.
The following four tracks titled, ‘Freedom is Hate’, ‘The Dark’, ‘March in Line’ and ‘Bathed in Blood’ feel like the second half of the album after said interlude. Each of these tracks feels more melodic and tuneful, less emphasis on the grungy aggression that has been present on the previous tracks.
The penultimate track ‘My Noose’ starts off with a softer opening, quiet and more muted, another contrast to what we’ve heard so far. But of course, it speeds back up to match the overall tone of the album. The band ensures that their signature sound appears everywhere.
The final track, ‘Your Chair is Not a Throne’ definitely fits in with the tone. The dramatic flourishes of the cymbals and subtle intro sets the finale up nicely, and when the vocals full of accent, angst and anger come in, it’s the perfect end. The explicit nature of the track feels especially highlighted and everything we heard before feels like a build up to this. The best way to end an album with this much attitude and depth.
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