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Track List
01) The Everchanging Spectrum of a Lie
02) The Magnifying Glass
03) I Don't Want to See You Like This
04) Austere
05) A Heavy Abacus
06) Whirring
07) Buoy
08) (Maruyama)
09) Cradle
10) Llaw=Wall
11) Chapter 2
12) The Greatest Light Is the Greatest Shade
01) The Everchanging Spectrum of a Lie
02) The Magnifying Glass
03) I Don't Want to See You Like This
04) Austere
05) A Heavy Abacus
06) Whirring
07) Buoy
08) (Maruyama)
09) Cradle
10) Llaw=Wall
11) Chapter 2
12) The Greatest Light Is the Greatest Shade
7:45
2:20
4:19
3:30
3:40
6:47
4:52
1:46
2:47
3:45
3:09
5:20
Data Complete
70%
Total Rating
70%Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2011
Alternative Rock
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Rock/Pop
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Medium
Album
0 copies
Album Description
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The Big Roar is the debut album by Welsh indie rock band The Joy Formidable, released in the UK on January 24, 2011 on Atlantic Records, with a US release following on March 15, 2011. The tracks "Austere", "Cradle", "Whirring" and "The Greatest Light Is the Greatest Shade" were originally featured on the band's debut mini album A Balloon Called Moaning. In summer 2010, the band signed with Canvasback Records, a subsidiary of Atlantic. The band worked on writing and tracking the material for The Big Roar when they were not on tour. The album was recorded in London.
On the album, bassist Rhydian Dafydd said that "(it) covers a lot of emotional range. It's captured the battle between the eternal optimist and the manic depressive." Their debut was produced by the band, with help from engineer Neak Menter. The band traveled to Los Angeles to mix it with producer Rich Costey, who had worked with bands such as Mew, Muse, Foo Fighters and Glasvegas. The first single from those sessions, "I Don't Want to See You Like This", was released in autumn of 2010.
User Album Review
Welsh trio The Joy Formidable have been shaping this debut album for years. Current single Austere came out in its original form way back in 2008, and three other songs on The Big Roar have been released in the intervening years. If you want a model for careful, gradual career building, look no further than this lot.
While long-standing fans must be weary from all that waiting, it has proved a wise move for the band, enabling them to tour around the world – using their own funds – and gracefully step up from support slots to headline act. The live show was honed; new songs were written; old songs were perfected. And now the debut album is ready to send them stellar.
The Big Roar is huge: a roller-coaster of an album driven on by urgent, accelerating grunge riffs and punchy pop melodies. The Joy Formidable’s template is simple. They create a basic melody that Ritzy Bryan sings with ethereal majesty, and build it upwards into an irresistible, molten-lava crescendo. As with Muse, it’s almost unthinkable that this band only has three members.
Well aware of their limitations as individuals, they work hard on this debut album to expand upon them, making the sum greater than the parts. Older songs are subtly remixed and extended – Whirring now has an almighty, hair-raising coda; Cradle has a rich new sheen – and the fresh songs bring changes in attitude and tone. On Llaw = Wall, Ritzy steps aside from the microphone so her bandmate Rhydian Dafydd can have a turn; Buoy starts like an eerie xx track and doesn’t get much friendlier as it mushrooms upwards and outwards. Indeed, the second half of The Big Roar is, at times, a chilly, disconcerting listen.
This album’s long gestation period brings some flabbiness too as The Joy Formidable try to add depth: the man’s screams during the intro; the ‘roar’ at the end of Austere; the overlong opening track; the Maruyama interlude. Some pruning could have tightened all this up, especially as the band’s songs speak volumes for themselves. Nevertheless, The Big Roar is a powerful signal of intent and a fantastic debut.
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User Comments
Available in:
The Big Roar is the debut album by Welsh indie rock band The Joy Formidable, released in the UK on January 24, 2011 on Atlantic Records, with a US release following on March 15, 2011. The tracks "Austere", "Cradle", "Whirring" and "The Greatest Light Is the Greatest Shade" were originally featured on the band's debut mini album A Balloon Called Moaning. In summer 2010, the band signed with Canvasback Records, a subsidiary of Atlantic. The band worked on writing and tracking the material for The Big Roar when they were not on tour. The album was recorded in London.
On the album, bassist Rhydian Dafydd said that "(it) covers a lot of emotional range. It's captured the battle between the eternal optimist and the manic depressive." Their debut was produced by the band, with help from engineer Neak Menter. The band traveled to Los Angeles to mix it with producer Rich Costey, who had worked with bands such as Mew, Muse, Foo Fighters and Glasvegas. The first single from those sessions, "I Don't Want to See You Like This", was released in autumn of 2010.
User Album Review
Welsh trio The Joy Formidable have been shaping this debut album for years. Current single Austere came out in its original form way back in 2008, and three other songs on The Big Roar have been released in the intervening years. If you want a model for careful, gradual career building, look no further than this lot.
While long-standing fans must be weary from all that waiting, it has proved a wise move for the band, enabling them to tour around the world – using their own funds – and gracefully step up from support slots to headline act. The live show was honed; new songs were written; old songs were perfected. And now the debut album is ready to send them stellar.
The Big Roar is huge: a roller-coaster of an album driven on by urgent, accelerating grunge riffs and punchy pop melodies. The Joy Formidable’s template is simple. They create a basic melody that Ritzy Bryan sings with ethereal majesty, and build it upwards into an irresistible, molten-lava crescendo. As with Muse, it’s almost unthinkable that this band only has three members.
Well aware of their limitations as individuals, they work hard on this debut album to expand upon them, making the sum greater than the parts. Older songs are subtly remixed and extended – Whirring now has an almighty, hair-raising coda; Cradle has a rich new sheen – and the fresh songs bring changes in attitude and tone. On Llaw = Wall, Ritzy steps aside from the microphone so her bandmate Rhydian Dafydd can have a turn; Buoy starts like an eerie xx track and doesn’t get much friendlier as it mushrooms upwards and outwards. Indeed, the second half of The Big Roar is, at times, a chilly, disconcerting listen.
This album’s long gestation period brings some flabbiness too as The Joy Formidable try to add depth: the man’s screams during the intro; the ‘roar’ at the end of Austere; the overlong opening track; the Maruyama interlude. Some pruning could have tightened all this up, especially as the band’s songs speak volumes for themselves. Nevertheless, The Big Roar is a powerful signal of intent and a fantastic debut.
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