There was a period, roughly between 1994 and 1999, when Terrorvision were everywhere. Starting with the well-deserved success of their 1994 sophomore alum, How To Make Friends And Influence People, the band seemed to be a permanent fixture of radio shows and festivals, while a relentless touring schedule kept them out on the road more or less constantly. The band had their ups and downs, splitting in 2001, only to return in 2005, albeit with a much-reduced itinerary. Freed from the hectic schedule of the band’s earlier period, singer Tony Wright began a solo career, releasing his debut album, Thoughts ‘n’ All in 2014. Stripped back to the bone, with a folk sound that was light years away from the effervescent material of the band, Thoughts ‘n’ All proved to be a reflective, folk-infused album. Shorn of production (Tony would use the phrase “anti-production”), it saw the singer baring his soul and the album’s compelling honesty clearly made its mark. A second album, Walnut Dash, followed in 2016, before life in Terrorvision ramped up once more and the band went out on the road with The Wildhearts and Reef. It has taken a little while, therefore, for Tony’s third album to land, but for those who found themselves captivated by his previous offerings, his return with The Anti-Album is a timely reminder of the rare honesty and empathy he brings to bear as a solo artist.
Opening with the bruised and rather beautiful Sleep, The Anti-Album gets off to a fine start. A bluesy, rootsy piece reminiscent of BRMC and underpinned by subtle percussion, it allows plenty of space for Tony’s wounded vocal to shine. Second track, Nothing To Write Home About, exists in a similar realm, although it adds a touch of piano to further flesh out the sound. The vocal initially feels awkward, but the longer you live with it, the more the brutally honest nature of the lyric perfectly fits the heart broken and rambling delivery. It’s followed by the haunting Get It Wrong, a lengthy meditation that edges into spirtualized territory with its cymbal washes, subtle piano and gorgeous guitar work. Expanding the sonic palette further, Buried You Deeper has a country vibe, bar room harmonies and an insistent beat, and it brightens the somewhat sombre mood of the opening pieces. It’s followed by recently released single Dreaming I’m In Love, a bittersweet track that unveils the destructive dichotomy that lies at the heart of a one-sided relationship.
Maintaining the atmosphere of gentle melancholy, All In Our Heads has a folk vibe reminiscent of Oysterband, and it proves to be a lovely, elegant piece of music. In contrast, Heaven has an impressively heavy underpinning for a track written and played on an acoustic guitar. A dark track that builds to an impressively full-bodied climax, it’s an album highlight, and really elevates the second half. The slower Hearts And Minds has a chorus destined to attain classic status, Tony’s well-worn pop nous coming to the fore for a moment, before the unutterably lovely Cannonball speaks to the uncertainty that lingers beneath the façade of fame. The album closes with the up-tempo Gamble, Drink And Smoke, a brilliantly bluesy number that captures the unrepentant spirt of artists like Buddy Guy, the narrator revelling in his misdeeds and the life they afforded him.
With their deft mix of pop, metal, and cartoon imagery, Terrorvision always felt larger than life – an image cultivated by the band and gladly disseminated by the press. With The Anti-Album, Tony Wright peels away the mask to reveal the wounded underbelly beneath. It is a work of startling honesty and musical depth, and it frequently surprises the listener, unleashing unexpected emotions in the process. It’s also an album that repays repeat listens, thanks to the quality of the song writing and arrangements. It’s not always an easy listen – it’s too close to the bone for that – but it perfectly captures the difficult decisions made by a flawed and feeling human being, and it’s hard to imagine anyone listening to the album and not empathising with the situations detailed in the lyrics.
Coming into the album, I honestly didn’t know what to expect, but I hadn’t expected such an emotional rollercoaster. Across ten tracks, you’ll find darkness and despair, defiance and catharsis and, thanks to the brilliantly executed finale, you’ll leave feeling infinitely better than when you arrived. In short, The Anti-Album is a triumph and one of the most brilliantly (and bruisingly) honest albums you’ll hear all year. 9.5/10
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