Passenger Action – Self Titled

When Canada’s kings of late 90’s technically progressive power-punk Choke disbanded in 2007, the decision felt natural. What been fresh and new a decade earlier began reaching a creative saturation point, and while their final release, Slow Fade Or: How I Learned To Question Infinity, retained the direction and skill of previous releases, it did very little at further developing their sound. Amidst a landscape of dynamically evolving technically complex post hardcore bands, the pinnacle of which was arguably A Wilhelm Scream‘s Career Suicide, the status quo felt decidedly less exciting, and Choke quietly faded into history. But band members Shawn Moncrieff and Clay Shea weren’t ready to throw in the towel, so in 2008 they formed Passenger Action, a new four piece that updated and modernized Choke’s sound for today’s soundscape.

As one might expect, Passenger Action has inherited many of Choke’s qualities. Moncreiff’s vocals retain their distinct early 00’s whine, and confident, technically adventurous chord progressions remain at the heart of each song. However, for every similarity the band also has defining differences. For starters, Moncreiff has greater vocal control than in his past outings. Now he seldom breaks down into what I always found a rather annoying shriek – or something comparable to label-mates Comeback Kid. Fans of the technique claim the shrieking captures a song’s energy – but on a personal level I’ve always found it grating. Still, even with greater control, Moncreiff’s vocals will always be an acquired taste, and much like in Choke, likely a breaking or selling point for many listeners.

Passenger Action further defines itself by focusing on slower compositions, and placing a greater emphasis on melody than Choke ever did. Songs like “Absent Minds” and “Surface Issues” welcomingly ease the listener into tracks by taking full advantage of both guitarists. The effect builds a gradually layered soundscape, effectively building a sense of urgency that naturally launches each chorus. Slow songs like “Beneath the Rust” take musical layering further, gently placing looping choral backing vocals against Moncreiff, building up to the song’s natural fade out. The album also makes full use of instrumental tracks like “(Night Frisbee)” and “(Good Ones Are Hard to Come By),” both showcasing Passenger Action‘s technical prowess, and serving as well placed bridges between songs. Consequently, the album is filled with sweeping highs and lows, producing a great sense of diversity and urgency.

After listening to Passenger Action‘s self titled debut, it’s hard not to be overjoyed that Choke called it quits. Passenger Action has demonstrated that maturing and moving on from technical speed doesn’t have to mean diluting complexity. Here’s to hoping that Passenger Action enjoys a career as long and fruitful as Choke’s thirteen-year run.