1 // PRESS TO MECO // Transmute

Press to MECO’s first two albums entirely passed me by. In fact, although they’ve been around for a decade, I’d not even heard of them until 2021. A recommendation on a podcast turned me on to their third record. Arriving with no initial expectation – departure of a key band member after album two, pandemic restrictions during production – but then quickly amassing multiple glowing reviews, Transmute is an absolute triumph. Combining some elements of math rock and hardcore/post-hardcore/metalcore with (trademark) multi-layered harmonised vocals, as well as adding pools of calm and making sure that all the choruses are catchy as, this is intelligent but unpretentious rock. A number of aspects of Transmute remind me of Biffy Clyro in their pomp, although I think I prefer this to any particular Biffy album. There’s certainly the same mix of heavier material (some of it full on) with a song-writing ear for a hook. Press to MECO could now become a stadium filling band, no question. 

Leaving aside a weird industrial intro (why?), every single track on Transmute is incredible, and this consistent quality is what ultimately meant that it topped my list this year. Nonetheless, I still have favourites. ‘Another Day’ is a wonderful opening (proper), with a bounce-bounce verse, soft bridge, and booming chorus. We’re off! ‘Baby Steps’ is more experimental, mixing emo with full blown post-rock. ‘Sabotage’ is a thundering, riff led delight. My favourite amongst these favourites is ‘Gold’, which showcases Transmute’s bipolarism well. It starts with nasty, almost Every Time I Die style metalcore, before twisting into a harmonised, bass lead bridge, and then – holy hell – unleashing a swirling AC/DC style classic rock riff that takes over and becomes the track. Wow.

Lyrically, a key concern running through the record is the environmental crisis (“They’re slowly throwing all that poison down the well”). Other points of focus include the endless tech revolution (“Do you need a rest / From the relentless progress?”), and the risk/reward of personal ambition (“This could take years / This could all end in tears”). It’s all fairly grown-up stuff, without ever feeling forced or pulling focus from the music.

Alongside OK Human, Transmute has defined 2021 for me. I’ve repeatedly come back to it, and I think there’s a very good chance that I’ll still be playing it in 2031. It’s early days, but I’d say this is the first proper contender for my album of the decade.