After 7 years of build-up, carefully constructing a cacophonic blend of guitars and brass, Opus Kink’s ‘The Sweet Goodbye’ is a spellbinding record for a cult following that has waited far too long.
Opus Kink’s ‘The Sweet Goodbye’ suggests the colour of love is 448c. Better known as ‘Sludge’. A dark drab brown. Considered by some as the world’s ugliest colour. Used on cigarette boxes for maximum off put.
The Sweet Goodbye plays out in a haze of sludge. A smog-screened, down and dirty post-punk romp.
Their debut full length album is another demonstration of flair and showmanship to add to their 3 previous EP’s spanning 2020-2023.
I have previously described their sound as “fiesta-punk” characterised by a joyous yet chaotic energy best highlighted on the track ‘I Love You Baby’ from their 2022 EP ‘Til The Stream Runs Dry’.
Speaking of the record, frontman Angus Rogers said: “‘The Sweet Goodbye’ is an album that attempts to corral the dreams, desires, neuroses, fears, musical, religious, sexual and historical obsessions of six people in the loose paddock of a rock & roll record.”
Themes reflected throughout but also delivered by the frontman himself in his classic uncompromising style, snarling and howling his lines like a feral dog.
The record starts with one of its strongest cuts in ‘Come Over Do Me Wrong’. Opening with a punchy sax motif that lays the foundations for the catchy yet more measured sound that unfolds across the album.
‘The Sweet Goodbye’ has a driving quality to it, steady percussion laying beneath flittering saxophones and gruff choral passages. ‘Peckham Nocturne’ bucks the trend with Angus’ vocals at times barely a whisper, blown past by the pangs of washed out guitars and slinking horns.
The record continues through to ‘The Head Tree’ featuring British folk punk band ‘The New Eves’. Taking it in turns to embody Alice Molland, the last woman in England to be tried and hanged as a witch. The New Eves traditional folk sound and aesthetic slot nicely into the sonic palette of the record. The track has an intentionally ritualistic tone that gives it a distinct 1600s, Salem witch trial edge.
‘448c (The Colour of Love)’ follows straight after as the boys foray into synths and autotune vocals, the biggest left turn on their sound across their career so far. Despite this it still sits comfortably amongst the album’s 10 tracks, Jed Morgan’s sax and Jack Courtney’s trumpet remaining a stalwart in the band’s sound no matter the twist or turn.
The whole record has a spiritual cult energy placing it more comfortably in a witches spellbook or a medieval tavern than a record collection. It’s a wormhole to dimly-lit cobbled streets, dripping candle wax, and the bubbling of potions.
Enigmatic, magnetic and incantatory, Angus Rogers and the boys first full length LP is one to satisfy long-term fans of the band whilst tentatively touching into new sonic territory.
