The London-based quartet Balancing Act released their debut EP Malice In Tone on November 2nd. A fearless blend of indie-rock that hints at the angst of an early 2010s Arctic Monkeys track, it’s not hard to see why the group’s debut singles garnered immediate attention in the UK scene. However, to draw a direct correlation on the groups’ sound to any other indie-rock group would be underselling their talents. The group displays their ability to sprinkle electronic, pop, folk, and punk influences into a bold and incomparable sound on Malice in Tone.
If you are looking for a simplistic or gleeful record, you won’t find it here. This becomes readily apparent on “Intro”, featuring undeniably sombre guitar chords and menacing synths in the background. It really would fit perfectly as a theatrical track to introduce a villain in an 80s horror movie. To an extent, the significant other portrayed throughout the album is this villain. Led by singer Kai Roberts, Balancing Act tells the story of being dragged along in an unhealthy relationship, craving ‘those sober evenings inside’ just to avoid the ‘callousness and greed’ of this person.
Malice In Tone uses the changing of seasons to symbolize the calamitous nature of the relationship. This is highlighted on the menacing “Cold”, as the freezing weather paints the picture of a relationship that is ‘rotten to the core.’ The track rises and falls, utilizing electric guitar licks as the catalyst for a snappy chorus. This is contrasted with the melancholy closer “The Saddest Song I Ever Did Write”, where Kai yearns for “autumn again” over blissful guitar strings and peaceful whistles. The song seems to appreciate the warmer moments of the relationship both literally and figuratively, as a chapter of his life seemingly comes to an end.
Kai’s booming vocals or Jackson’s hypnotic guitar riffs keep the album engaging from front to back. This is especially transparent on “All Yours”, a song that slowly rises in intensity as the synth-lines and rapid drums merge with an electric guitar over the last minute. The song puts on a clinic in terms of showing off a dynamic and engaging structure. Additionally, it contributes to the chronicle of hanging onto an unhealthy situation with a sense of indiscreet optimism that ‘maybe the tables will turn.’
Making the most of the 17-minute run-time of the EP, Balancing Act engages in a variety of sonic pallets to reflect a bipolar and traumatic relationship. Malice In Tone does a fantastic job at not overpopulating itself with instrumentation or production: the guitar licks, the synth progressions, the smeared yet gorgeous vocals, they all have room to not just breath, but stand out. Balancing Act has both the charisma and the vulnerability to one day perform in front of far bigger crowds, another exhilarating example of why we need to take notice on the new wave of UK-based groups.