For years now Biffy have been on the verge of massive success. Possibly the most dedicated fan base in music, fantastic albums and some of the mightiest riffs this side of Metallica has given them a massive launch pad. The question is, have Biffy chosen to ignore this launch pad, continuing to make abstract, original, and quite frankly maniacal rock music, or has it all gone a bit Snow Patrol? Sadly, the answer is the latter, rather than the former.
Puzzle is truly an album that lives up to its name. Like the curtain jerker on Biffy’s third album, Infinity Land, Puzzle’S opener ‘Living Is A Problem Because Everything Dies’ builds up for a good 90 seconds before exploding into an anthemic piece of pop. Unfortunately, the build up doesn’t work, the stabbing chords somewhat resembling a news bulletin theme tune. Instead of creating an atmosphere it’s just downright annoying. The rest of the track works, but it is somewhat Biffy-By-Numbers.
The album continues in an equally puzzling fashion. There are a number of tracks that sound like Foo Fighters b-sides (‘Saturday Superhouse’, ‘Semi-Mental’) and a few seem to have been drawn from influences such as Panic! At The Disco. (‘Who’s Got A Match?’, easily the most mainstream moment on the album) The highlight of the album is the haunting ‘9/15ths’, one of the few tracks that manages to excite and engage the ear in the way that only Biffy Clyro can. Apart from that, masterly moments are sparse. ‘The Conversation Is’ has an ample riff but the rest of the song is drawn out and cheesy. The production on the album is just too polished. There’s nothing raw and powerful about it, and most of Puzzle doesn’t live up to expectations.
Radio 1 will love this album. There’s nothing wrong with that, but speaking as a Biffy fan, I was expecting something more. Something absolute, pronounced and experimental. Instead, Simon Neil and the boys have opted to make an album that will undoubtedly be huge, but will leave a bitter taste in the mouth of their more ardent fans.
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