The Human Project – Clarion Call

Rating: 3.5/5
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Released: 2018
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Band line-up:

Jonathan James Smith – Vocals/Guitar
Luke Edmund Yates – Vocals/Guitar
Joseph Rhys Dimuantes – Vocals, Bass
Matthew Colwell – Vocals, Drums


1. Desperate Times
2. Desperate Measures
3. That One Percent
4. The Rhetoric
5. Knocked For Six
6. Carrion
7. What We Always Do
8. Blame
9. Pride Before A Fall
10. A Debt To Society
11. Clarion Call


The Human Project are a politically charged Leeds tech punk group, and their new album ‘Clarion Call’ will be released on 6th July. Whilst their 2013 album ‘Origins’ preached a heartfelt message of tolerance to one’s fellow humans, ‘CC’ has moved their lyrical themes to more ‘frustrated swipes’ at Brexit and the ‘alt-right’. The band comments: ‘Origins focused on seeing both sides of an argument, fact checking… The difference now is we’ve lost our patience somewhat’.

Because of their disapproving political lyrics, you will likely expect this band to have both intelligent and aggressive musical backings. If so, you would be right. For punk music, the chord progressions are relatively advanced (think NOFX), but the intellectualism doesn’t make the material cheesy or any less exciting. Rhythms have plenty of variety without them becoming distracting and over-the-top; guitar riffs are a mixture of classic power chords and thinner single note ideas, that compliment the rest of the parts by making them sound even bigger; and on top of all this, the singer sings in a non-threatening way that is ‘above’ the corruption of modern government.

Despite all the pros, the music isn’t the most original in the world for the most part, with its typical almost non-stop burning energy. However, the guitar parts in ‘A Debt To Society’ are reminiscent of Iron Maiden’s, adding some much needed colour to the music. ‘Clarion Call’ even has a proggy lead part, where the bass mimics the guitars a couple of octaves lower, though unfortunately such creativity isn’t as common as it perhaps should be. The songwriting whilst strong, could be better as the singing isn’t particularly memorable or adventurous. It doesn’t really have anything too off-putting about it, but it’s far from Green Day/Offspring or whatever standard. It’s similar in almost all songs and is too safe.

In conclusion, this album could have been a lot better than it was. It has the passion, it has noble lyrics and great parts from all instruments. However, again, the vocal melodies sound rushed in the compositional process and they are what should be the most important. To be fair though, relatively colourful harmony does improve matters at least a little bit, forcing the vocalist to be more groundbreaking. On the whole, the album is worth buying but it isn’t a classic.

Review by Simon Wiedemann