Human Season Records
The Murder Capital burst onto the scene in 2019 as part of a post-punk explosion alongside bands like Fontaines D.C. and Shame. The Dubliner’s debut album, When I Have Fears, was a critical smash. An unsettling, thrilling record brimming with live energy while exploring feelings of grief, vulnerability, and existential unease. Gigi’s Recovery sees the band return in fine fettle, producing a record that drifts between dystopic darkness and occasionally joyous optimism.
Gigi’s Recovery has been a long time coming, as the band struggled to find songwriting motivation after the mental exhaustion that went into writing, producing, and touring their debut. It was a writing process that stretched over two years, moving from Dublin to London and eventually being recorded with Grammy Award-winning producer John Congleton at Paris’ famous La Frette Studio. The record sees the evolution of sound the band sought, with their whole recording process driven by the tongue-in-cheek mantra “the evolution will not be comprised”.
Thankfully, it wasn’t. Gigi’s Recovery is an atmospheric journey of introspection filled with existential tension. It’s tender and vibrant, a more controlled effort than their debut, with tracks resembling slow-burning candles. It’s an emotional rollercoaster, McGovern’s rich voice at the centre of things, pulling the strings. Two spoken word pieces bookend the album, ‘Existence’ and ‘Exist’, which perfectly reflect the journey of self-discovery McGovern takes, “Existence failing” becoming “Existence changing by the end”.
Musically it’s a richer affair, ‘Crying’ is built around a distorted shimmer, with dystopian-like synths vibrating around McGovern’s voice. ‘The Stars Will Leave Their Stage’ has an almost xylophone-Esque ping. McGovern gives it a mournful, romantic quality, singing, “Just like ships in the night/Promising to collide”. ‘Return My Head is a slice of indie rock, a short, rhythmic effort with its major-key looping riffs at the chorus. ‘Ethel’ is a superb, brooding affair that builds to a frenzied climax, arguably the band’s best song to date.
‘Belonging’ is a tender affair, with barely audible keys and unsettling strings looming in the background. McGovern’s voice is soft, with a delicate romance as he sings, “There in the light we’ll stay”. ‘The Lie Becomes The Self’ is a cautionary tale of being true to yourself, with McGovern warning, “Don’t get it twisted/It’s no existence. Musically it’s fascinating, rising and falling, teasing you with these short, brief crescendos and dropping into a haunting acoustic ballad in the middle. ‘A Thousands Lives’ has shades of Radiohead’s ‘Idioteque’ with its shuffling drums and synth organ chords.
‘We Had To Dissapear’ is full of poetic imagery, as McGovern sings about “dancing in the waves” and “Bluebells draping from your ear”. It’s the record’s most intense moment, McGovern’s voice conveying a sorrowful acceptance, catching and falling. ‘Only Good Things’ is a beautifully melodic moment, vibrant and colourful, with optimism flowing through the guitars and McGovern’s voice. ‘Gigi’s Recovery’ has a spacious build-up before expanding and soaring as McGovern sings about “the skyline flying by my window”.
Gigi’s Recovery is a massive statement from the band, rising from the emotional depths of When I Have Fears and returning with an album of equal power with a maturer sound. The edges have been polished, and the band sounds better than ever, with McGovern’s vocals, especially superb. A fantastic listen.