Enveloping with an invigorating rock sound, Levitator is the new album from Melbourne-based band Society of Beggars. Satiating structural rises pair with an emotional lyrical core; the album was crafted during personal tumult, following the loss of frontman Yianni and guitarist Jim Michalopoulos’ father. “When you’re feeling that manic energy that comes with grief, it can be all-consuming,” Yianni says. “Our drummer Dibi and bassist Zoë Alexa’s friendship and musical connection provided the foundation we needed to create.”
The act’s sound, which has drawn comparisons to Tom Waits and Nick Cave for its range of dynamic vocals and stylish rock haunts, fully impresses throughout Levitator — which follows up 2017 EP, An EP Called Night. The band has drawn ample praise for their stellar live performances, and now continue to impress in studio form as well with Levitator.
A foreboding rock immersion takes hold on opening track “Levitator,” compelling in a title-touting ascent that builds from a ghostly vocal sparseness into invigorating emotion. Blistering guitars drive alongside and carry toward a “see you levitate!” punchiness, making for a riveting opener with a spirited, anthemic impact. The climactic “Well of Wishes” ensues. Vocals declare “I just need a blood red sky and I’ll paint it for you,” as melodic guitar twangs evolve into a series of catching tonal shifts — from the “say you love me,” sludgy buzzing to the “take to me to your leader,” peppiness. Society of Beggars consistently impress with tonally dynamic productions within a steady alt-rock aesthetical mold.
Another standout comes in “All The Houses Have Their Lights On,” which touts a more hypnotic structural swell in its moody vocal layers and nocturnal guitar tones. Clanging acoustics and sporadic piano add to the darkly gripping soundscape, sounding like parts The Cure and A Perfect Circle in its delectable intrigue. The grumbling guitars, frolicking acoustics, and pit-pattering percussion combine with enthralling effect. “Lick” is another success in this meditative vein, weaving lush piano and introspective lyricism — “we’re waiting on the street, for the ones we think we’d like to meet,” — amidst a simmering structural rise, culminating in gorgeous touches of piano and lingering guitar adornments.
The album’s lead single, “God Mode” is another showcase in the band’s knack for momentum-filled captivation. Quaint piano chiming embeds within stirring guitar pulses and intensifying vocals, declaring “inside my TV, I’m in god mode,” around the track’s consuming emotional apex. Wordless vocals and guitar-driven mystique feature within the resonating finale; it’s one of many highlights on an album with ample rock emotion. Another single, “Dance The Evil” proudly wears ’90s grunge inspirations, offering that “I’ll be your wolf in the night,” into buzzing guitar distortion and a menacing “are you afraid?” questioning. Levitator is a thorough rock success, full of both emotional fervency and intriguingly moody build-ups.
