Shame Stay the Course on 'Food for Worms' | Review by Ethan Beck
, their strengths weren’t the locked-in post-punk songs they were best known for, but the full-blown indie-rock anthems that were overwhelmed in Oasis-esque reverb. Even their biggest song, “One Rizla,” underlines this weird dichotomy. There’s a little angst to be found in the tune’s chorus , but the important part is Shame’s surprising restraint. For a band who arose from a scene filled with abstractions and strangeness in every song, Shame’s best quality is how straight they play it.
That simplicity is also a double-edged sword. Fairly often, Shame ends up in a sonic no-man’s-land, unable to stick the landing for their sticky post-punk songs. Aside from “Water in the Well” or Talking Heads-inspired “Born in Lutton” off their sophomore album,, Shame is a band who finds themselves to be less than the sum of their parts. There’s the appearances of bongos, shouted and clean vocals, sudden tempo shifts, but oftentimes these choices don’t stick together like you’d want.
“Different Person” is the penultimate slow burn, a wiry display of ringing guitar chords and restless bass grooves. “You can change your friends / But you’re still the same to me,” Steen deadpans before the song concludes with a chord progression that could be from a Supertramp song if Supertramp liked layering their melodies with wailing guitar leads. It’s on songs like “Adderall” or the acoustic-guitar-driven “Orchard” where Steen and co. expand upon their tunefulness.
Ethan Beck is a writer from Pittsburgh who is currently living in Manhattan. His work can be found at
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