Years & Years - Communion [Album Review]

It has very much been the 'year' of Years & Years, with the trio making waves in the British music scene since summer last year. A number 1 UK single with 'King' marked them as serious musical contenders and later track 'Shine' managed to secure them a number 2 spot on the chart. Communion was hotly anticipated, but ultimately does it deliver and follow the suit of the seemingly pristine singles that the group have generated so far? As always, for a track-by-track review, keep reading below, and if you want to skip to the final verdict, scroll down for that. 

Track-by-track: 

‘Foundation’ is a suitable start to the beginning of the album, which has a seemingly never-ending beat that is particularly haunting and creates the sense as if it is building (a foundation) to something bigger. The song has a distinctly ominous nature which is heightened by the mysterious echoes in Olly’s voice and the dark instrumental sounds. If you want to read our full review of this track in another post, click here. ‘Real’ is up next and we’re calling this one as the Marmite track of the album. It’s an odd mix of eccentric beats and breaks in tempo, which doesn't seem to ever really go anywhere or make any significant memorable impact, but it might appeal to some. This one’s going to divide a few people.

From the glittering electronic beats to Alexander’s smooth vocal delivery, track #3's ‘Shine’ is a real gem. Undeniably suitable for summer, it’s not hard to imagine the connection to summertime sunshine that will be made considering the lyrical content, but it is much more than just an easy-to-listen-to track, with notable lyrics that have multiple meanings: “It’s shaking the sky/ and I’m following the lightning/ I’ll recover if you keep me alive/ don’t leave me behind”. If you want to read our full review of this track in another post, click here. ‘Take Shelter’ was the big smash hit of last year which definitely put Years & Years on the map. The track itself focuses on the notion of a relationship which seems to be a little overwhelming and careless, but intriguing; “We’re running around like we don’t care/ It’s gonna leave its marks somewhere/ Do you want to show me something new?” The overall vibe of the song is electro-pop with synth-pop elements incorporated with dance beats, which makes for an overall addictive and catchy sound. The musical composition of the track is quite clever, and particularly radio-friendly, without being dull and too repetitive. If you want to read our full review of this track in another post, click here.

#5's ‘Worship’ is an easy, breezy addition to the Years & Years discography, this one has the usual highs and lows that are becoming a signature of the band, performed at their best. Sounds a little similar to ‘King’. ‘Eyes Shut’ features an interesting piano chord opening, and this one’s more of a ballad, showcasing a distinctive change in pace from the previous tracks. It’s perfectly pleasant, with a mix of bass beats than come in 30 seconds into the track, but it’s relatively average. Offering an intriguing break with a middling tempo, 'Ties' is next, and soars with the help of Alexander. “Just another bite that takes it higher than before” is a favourite lyric. ‘King’ was one of the best feel-good tracks of the year, which was recently used as the headline track for Radio 1’s Big Weekend. This one's a triumphant mix of electro beats and vocal echoes which will bewitch any listener.

#9 is ‘Desire’ and admittedly, it isn't as catchy as ‘Take Shelter’, but showcases Alexander’s smooth vocals rather well, and of course, the beat is incredibly groovy, suiting the band well. It is a capable creation that any dance fan will no doubt love. If you want to read our full review of this track in another post, click here. ‘Gold’ follows, and is a bubbly, radio-friendly addition that provides a suitable anthem for anyone wanting to ‘let go’. ‘Without’ sees the album through track number 11. A triumphant electro ballad that unifies with Alexander’s varying vocals to make a real ‘communion’. At #12 is ‘Border’ and whilst there is nothing particularly grabbing about this track, it benefits from a slick production and the feel-good vibe that seems to encompass the band at their very core. ‘Memo’ is offered up as the closing track, as a slow-paced rhythmic piano mix that makes use of the best qualities of Years & Years: their vocal delivery, musical prowess and haunting sounds.

Overall verdict:

Let’s get one thing straight: a timeless classic, this is not. But who says anything has to be timeless to be significant? It’s been noted by some that Communion changes nothing in the music scene, that it is merely music ‘of the now’ and to an extent that’s true. But why must it be sad is such a negative manner? Why can’t something in the now be just as good as something that allegedly lasts forever? Communion’s appeal comes in the form of its blissful beams of electro-pop sunshine, which offers up moments of true enjoyment for listeners. Whilst none of this is ground-breaking, it doesn't have to be, to be enjoyed. Whilst Communion relies on its simplistic nature and Alexander’s vocal delivery to sail it through to brighter shores, there are times when it loses its way and ends up sounding a bit too similar for its own good. Nevertheless, Years & Years have carved their own square in the sand where those who want to can come and listen to it and revel in its warmth – if only for a short while.