In a world driven by information and social media, finding something of real intrigue and mystery has become almost impossibly difficult. In the case of Anonymous One though, we have just that. A musician without a biography, without a set name, and with only three songs so far. Newly titled ‘Smash’, ‘Soak’, and ‘Alright’, the three tracks are set to be a part of an upcoming release, but for now they mark the only tangible connection that we have to the anonymous voice.
First up is ‘Smash’, a near-three minute cut that emerges from a quick-fire drum beat to become a vintage slice of hard rock. Infused with a grunge spirit, it’s an acoustic rock song that rallies alongside a deep emotive streak. It’s a simple track that is constructed brilliantly, showing that you don’t need bells, whistles, and a maelstrom of cluttered effects to make a good track. Instead, ‘Smash’ is paced brilliantly, falling away into the gritty, smouldering sounds of the song’s break down before rising triumphantly with a guitar solo that steals all the focus.
‘Soak’ arrives as the second track off the block, and it’s quite possibly Anonymous One’s golden moment. Channelling the same acoustic rock style, the real magic of ‘Soak’ lies in its restraint. It’s paced brilliantly, with the guitar, vocals, and percussion layered and orchestrated to form an evolving wall of sound. The more subdued energy of the track matches the vocals, ensuring they don’t get lost within the melee, while the more melodic, alt-rock sound brings about instant parallels with the likes of Pearl Jam and Soundgarden.
The last of the mystery-clad tracks is ‘Alright’, a rolling track that conjures up shoegaze daydreams and thoughts of hazy days. It’s a slow burning cut that drifts into subtle pop territory; accessible to everyone and easily palatable. When considering it against its more energetic counterparts, there is a notable disparity with the vocals, and they don’t seem to fit the softer sound as readily, particularly in the chorus. It’s not unpleasant, just not as organic or natural as the other works.
Another interesting note is that by the end of ‘Alright’, a set format seems to emerge in the writing style of Anonymous One, which each track ending on the back of rolling guitar solo. It’s not an issue, but it does make the tracks more predictable, taking away the anticipation and sense of surprise that was so keenly present in the first few listens. Overall though, the three tracks do present an accomplished style, and there is definite talent behind the intriguing moniker.