Biffy Clyro have been Rock mainstays for the best part of two decades now. They’ve had a remarkably adventurous run for an arena filling act, keeping the quality and consistency high. But ninth album ‘A Celebration of Endings’ doesn’t hold a candle to their cathartic peaks ‘Puzzle’ and ‘Opposites’, nor does it match the energy and intensity of their early output. This is a low stakes pop-rock effort that will harm their trajectory as little as it will advance it.
With their best work, Biffy melted emo, grunge, prog and math rock into a distinctively Scottish brew. They tackled fiercely emotive themes such as grief and separation with frankness and originality. With this in mind, ‘A Celebration of Endings’, can’t help but feel distinctly watered down; predictable chord changes, predictable tempos, predictable melodies. Even the jagged left turns and odd time signatures that Biffy are known for have become too common place to be exciting. Too many of these songs have direct and obvious presidents on prior albums. There’s nothing here that they haven’t done before (with the unfortunate exception of ‘Instant History’, a truly terrible big tent E.D.M monster) and done better. ‘Opaque’ is ‘Medicene’ is ‘God v Satan’ is ‘Machines’ etc. Of course this isn’t unusual territory for a band entering their 25th year as a band. But it does feel disappointing from The Bif, who have always pushed boundaries and taken names.
Lyrically, the album is more experimental – but in unflattering ways. A Celebration of Endings’ finds songwriter Simon Neil looking outwards for the first time In a long time. His reasoning for this transition away from the personal towards the political isn’t very persuasive. “I feel like I’ve investigated myself more than I probably should – more than is probably healthy!” While such an outward change might be seen as ambitious or necessary, I would contend that it plays against Biffy Clyro’s intrinsic strengths. The problem is that Biffy’s most stirring music has been autobiographical in nature and this shift feels awkward and unwelcome.
There are exceptions. Opening track ‘North of No South’ introduces themes of betrayal, disillusionment and disappointment. It’s rich in a pessimism that is initially intriguing if ultimately off-putting. ‘There’s nothing below, above only darkness…there’s no brightness coming back.’ Musically the song is typically meticulous. Biffy build all their songs on such steady foundations that even on off day they are better than much of what counts as successful contemporary rock music. ‘Tiny Indoor Fireworks’ is a mid-tempo melodic blast that cuts through the murk pretty effectively. Better still, ‘Weird Leisure’ is a despairing portrayal of someone in the grip of addiction. Neil dispenses with the eccentric imagery he’s become known for, cutting straight to the chase with lines like ‘you’ve polished off your cocaine, your face is fucking numb’. ‘A Celebration of Endings’ could benefit from more of this blunt, direct confrontation and honesty. Too often, ‘A Celebration of Endings’ feels frustratingly safe.
5.5/10
Pop goes the Weasel 
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