Incorporating classical or orchestral elements into a rock-based sound can have mixed results. Sometimes, as artists such as Serj Tankian and Muse have demonstrated, it can work incredibly well. Dream Theater have also proved that an orchestral backing can be utilised well, while bands like Metallica have had less luck. Generally, however, this inclusion is a fleeting one, a temporary gimmick to give an artist’s music new flavour. With Pilgrim Angry, however, the classical sound is incorporated into the very soul of the band.
Pilgrim Angry are a two-part British act describing themselves as “rock-classical”; a coming together of influences from heavy rock to more complex, symphonic arrangements, with the intention of delivering both. What the band provide is a sound that hits so many different notes, carries with it so many different moods, that it’s hard not to become transfixed. The band’s self-titled track is a perfect example of this.
‘Pilgrim Angry’ starts off with almost an ambient feel before moulding itself into a more electronic, almost darkwave sound. It isn’t long before the chorus explodes in, carrying a thrashing big band backing to compliment the vocals of frontman Mark Smith. The second half of the track focuses around violin breaks and the big band chorus, sending musical shockwaves right up to the piece’s eventual conclusion. ‘No More Questions’, meanwhile, is a more relaxed piece, piano-oriented and benefiting hugely from the vocal duet between Smith and guest vocalist Grace Taylor.
One of the more emotional Pilgrim Angry tracks available, the song is further boosted the string section, almost inconspicuous despite the profound effect it has on the atmosphere of the track. Head moves into an almost disco-like sound, emulating the New Wave, dance-rock elements of more modern artists like the Killers; an interesting and catchy step away from previous tracks.
‘Call My Name’ provides Smith’s strongest vocal performance, a powerful chorus the highlight of a piece that has definite parallels to Radiohead’s Creep, though Smith adds more soul to a piece already brimming with it musically. The strength of the track even before Smith is considered is thanks largely to the composition work of other band member Ian Livingstone, whose instrumental contributions to Pilgrim Angry should certainly not be ignored.
Between the two band members, there is a camaraderie that gets translated into fantastic music that, in the words of studio manager for U2, Sam O’Sullivan: “takes you to another place and excites and is full of promise”. It’s this that make Pilgrim Angry so fascinating, and it’s this that could make them one of the big dark horses of British music in the coming years.
Part of the charm of Pilgrim Angry is how every track feels fresh and different from the last. Whether Smith and Livingstone aim for a big band sound, a more laid back piano arrangement, or simply just diving straight into the realms of modern New Wave, the pair seem to pull it off with ease. With debut album Out of the Blue released earlier this year, Pilgrim Angry are certainly ready to hit new heights, and such an emergence will no doubt be very well-received when it comes.
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