ME REX - ‘Smilodon’ review
ME REX by Benjamin Whitley
Today, ME REX self-released their brilliant Smilodon EP. Named after the sabre-toothed tiger, this latest offering builds thematically on their recent album Giant Elk, intertwining personal stories with broader mythical elements. It presents a more personal, chaotic, and frantic vibe than the sprawling nature of Giant Elk, yet it retains the band’s inherent optimism. As with everything the band undertakes, it’s easy to become absorbed by their creative fervour.
Smilodon revisits tracks from their earlier EPs—2016’s Wooly Mammoth and 2017’s Wooly Rhino—a time when the band was the solo project of Myles McCabe. Since evolving into a full ensemble with the additions of Phoebe Cross and Rich Mandell, ME REX has frequently returned to their roots, reinterpreting their early work with tracks originally from this period featured on last year’s Giant Elk album. When we spoke with the band at the end of 2023, they revealed that Giant Elk began as an exploration of songs from the Wooly EPs, making it fitting that the tracks not revisited on that album are now highlighted in Smilodon.
Each revisit to their catalogue proves fascinating. While these songs may share the same origins and many overlapping lyrics and themes, they re-emerge, not as mere refinements of their former selves but as works reshaped by the current creative context in which the band and its members now operate. In Smilodon, we see fresh interpretations of "Goodbye Forever," "Fleck," and "Canada Water" from Wooly Rhino, and "Hale-Bopp" from Wooly Mammoth, all expertly produced and mixed by the band’s own Rich Mandell.
Now that Smilodon has been released, it's time to delve into the impeccable renditions of these tracks, each updated and informed by ME REX's evolving artistic journey. It begins powerfully with the latest rendition of "Goodbye Forever," which stood out as one of two pre-release singles. This allowed listeners ample time to connect with it before diving into the rest of the EP. The transformation from its original version is profound; what was once a haunting soundscape that could belong on a Tunng album or echo the acoustic tracks on Los Campesinos!’s All's Well That Ends EP has morphed into an energetic anthem that embodies the band’s evolved musical direction.
This track was an apt choice for the first release, as it showcases ME REX’s ability to blend emotive depth with vibrant energy, making it both a track that moves the body and stirs the soul. Its infectious beat and introspective lyrics create a compelling contrast, reflecting on the pain of a lingering breakup while inviting the listener to dance away the sorrow. This balance makes "Goodbye Forever" a strong candidate for a memorable closer in the band’s live shows.
In "Goodbye Forever," Myles McCabe delves into the pain and denial following the unexpected end of a relationship. He articulates these emotions through vivid metaphors such as "the sky hangs like a hot bruise" and imagery of nature reclaiming urban decay. The chorus, "That’s not what I meant, When I said goodbye forever," captures the unintended permanence of what was meant to be a casual farewell, underscoring the depth of his lyricism.
The evolution of "Fleck" is just as striking; what was once a gang vocal track with hints of influences from the likes of Ben Folds, I'm From Barcelona, and Fleet Foxes has transformed. It now opens with an effects-heavy vocal line from McCabe, which shifts around the 42-second mark into a song that has its heart in the songwriting of Billy Bragg. The chuggy strummed acoustic chords distinctly bring to mind Bragg's "To Have and To Have Not"—and that is in no way a bad thing. It makes the song seem familiar yet different all at once. If I were to express one gripe, it’s that at just under 1:40 long, I just wish it was a bit longer so I could get totally lost within the track.
The lyrical themes of the track touch on themes of pain, trauma, and the complexities of communication, further enriching the transformation that "Fleck" undergoes musically. As McCabe's voice traverses through the effects-laden opening, the lyrics delve into the vivid imagery of physical and emotional struggle, symbolised by a bitten, bleeding tongue and hospital sheets. This intensity contrasts with the acoustic strumming, echoing his raw and honest emotional confrontation. The dynamic shift in the track at the 42-second mark from an ethereal ambience to poignant acoustic expression not only highlights the personal nature of the lyrics but also enhances the song's exploration of the difficulties of maintaining belief in love amid overwhelming pain and betrayal.
The lyrics also capture internal conflict and desperation, themes that resonate deeply with the song’s shift from an upbeat gang vocal style to a more introspective, solo performance. This stark change highlights the personal struggle between whispered silence and sudden outspokenness, mirroring the track's musical evolution.
In an EP replete with remarkable reinterpretations, "Hale-Bopp" undergoes perhaps the most striking transformation. Originally a choral arrangement that would have felt as much at home in a church service as it does on an ME REX EP, it has evolved into a track that compels you to dance around the room when performed live, blending what might best be described as folky danceability. Lyrically, this song leans heavily into McCabe’s penchant for mythological elements, using the Hale-Bopp comet to explore themes of isolation and personal transformation.
The name Hale/Haley/Halley recurs throughout ME REX’s back catalogue, hinting that these songs might all reference the same individual, or perhaps metaphorically represent an aspect of the self or life undergoing changes and challenges. The imagery of "brilliant humming searing" and "strip fluorescent light" evokes a harshness and exposure, possibly illustrating emotional or mental states. The line "slip a couple of killers I can sleep all night" suggests a reliance on substances to cope with difficulties, underscoring a theme of escapism or self-medication.
Recurring references to "Haley," alongside intense imagery like "smash the windows" and "new birth through the pane glass," imply a breaking point leading to rebirth or drastic change. Conversations with a mother and the notion of being celebrated "down here in the dark" hint at a deep personal conflict, possibly connected to family dynamics or personal identity. Overall, the lyrics weave a narrative of pain, transformation, and the relentless search for self amidst turmoil, all set against a backdrop of stark, vivid imagery.
"Canada Water" showcases ME REX's prowess as songwriters, a skill that was evident after they masterfully met the challenge of composing a song that alternates between words starting with C and W. This accomplishment foreshadowed their audacious undertaking with the Mega Bear project, which involved creating an album of song segments that can be assembled in nearly infinite configurations. Revisiting “Canada Water” for Smilodon signals to me that the band might be gearing up for yet another ambitious project. Discussing the track's origins, McCabe recounted its genesis during his time working at a restaurant in Central London, where the repetitive journey through Canada Water inspired him to set himself a challenge: write a song using words that alternately begin with C and W. This constraint allowed him to extract hidden meanings from the subconscious, mapping them onto the consonant sounds.
Sonically, the evolution of "Canada Water" is subtler than some of the other tracks on the release, transitioning from ME REX's earlier sound to their current, more distinctive style evident in their recent releases. This transformation, while understated, is a meaningful recalibration that redefines the song within the current sonic identity of the band.
Lyrically, given its unique composition process and the C/W constraint, "Canada Water" is as enigmatic as it gets. If I interpret its themes, they appear to revolve around conflict, human nature, and the inevitability of change. The repeated motifs of war, cruelty, and transformation through weather elements delve deeply into both internal and external struggles. The consistent use of alternating 'C' and 'W' sounds not only imparts a rhythmic and structured feel to the song but also seems to mirror the cyclical and relentless nature of these conflicts. Phrases like "We cannot wait" recur throughout, imbuing the track with a sense of urgency and a push towards action or acceptance of fate.
ME REX’s latest EP, Smilodon, is yet another brilliant release from a band that has truly mastered the EP format. The evolution from the earlier Wooly versions of these tracks to their current forms is remarkable, and they fully deserve all the acclaim that is sure to come their way. Words can hardly express how much I adore ME REX and this EP; I’m eagerly counting down the days until I see them live again at next weekend’s Dead Punk Special.
Smilodon from ME REX is out now and available on all good streaming platforms. Catch the band live this Sunday in Brighton, next Monday in London or next Friday at Bristol’s Dead Punk Special.
