The brainchild of Ian Worang and Jake Fairley, this edgy post-grind rock album was made from the former’s fortitude and connections while the latter was overseas. There are thick, grungy elements to this modern dance rock, like the wilder, younger brother of the Interpol-fueled redux of the early 80’s sound. Modern Currencies is heavier than its kinfolk, with desperate guitar and vocals like their being dragged down a tunnel of a white light dream. And the drumming is bolstered by a sincere, energetic force enough to make hipsters dance with a purpose.
A gratuitous amount of fuzzed distortion and nimble power drumming make this a notable crossover between post-rock, grunge, and Franz-ish dancetopia. "New Cities" bounces around with a flailing fist instead of a waving, open palm. "Out of Sight" phases in and out of power bashing and ethereal coasting, with stabbing guitars giving way to distant wails, all carried by a pounding rhythm. "Hideaway" is remniscient of The Editors, but with more guts.
Vocally, Modern Currencies has a detached, apocalyptic feel, which puts more emphasis on the music, which is strong enough to carry the weight of a thousand bouncing, scrawny kids and then some. "Kiss Me" has tripped-up drums and breathy vocals for a after-party, nightcap makeout session. The rhythms drive the album, mostly quick and strong, with carelessly distorted guitars that convey a motion and forward-leaning momentum.
There’s an essential lack of pretension in each song that’s relieving. An evolution of a semi-revolution, this is the style of album that answers a lot of the questions of "why bring back the early 80’s British rock sound" – because it fills it with a modern density and propulsion that seemed more like form than function back in the day. There’s no shallow style here, just substance – and it works. That’s why.
