Album Review – The Last Thing Left by Say Sue Me (2022) (Damnably)


The middle-aged social circles I now frequent, always seems to be populated by people opining about the ravages of age with statements like ‘…but my mind still feels 18’. Of course it does not really, as then we would all be running around with frenzied hormones, seeking suitable partners to satiate such bodily chemicals and drinking until the early hours, only to go to work three hours later without a hangover.
Where the minds of us ‘olds’ do tend to reside, is somewhere within our 30 perhaps. Understanding our bodies are on a definitive downward trend, but mature enough to accept this and the majority of life’s other travails. This, The Last Thing Left album, the third by South Korea’s, Say Sue Me, simply resonates that sense of acceptance.
Such a feeling is felt most predominantly in the comparative tempo of the release. With the notable exception of the rollicking No Real Place, the rock edged jangle-surf of 2018’s, Where We Were Together album, is largely replaced with a reduced tempo that slides through jangled brilliance, rather than crashes directly through it.
Best represented by the opening double salvo of The Memory of The Time and Still Here (feat. Kim Ildu), as well as flowing romanticism of the title track, the dulcet tones and slightly downtrodden, understated production, suggests a maturity that has replaced the passion of youth with the gradual realisation that nothing much might change from here on in, but that age has given us the life skills to make the best of it.
Tracks such as Around You, Now I Say and George & Janice see Say Sue Me offer a sense of cutesy. Whilst never really twee, jangly indie-pop is approached, with the deliberation on each note and vocal delivery, becoming remniscent of Comet Gain, albeit with a slight rock bias.
Getting old(er) suits some people and whilst many Say Sue Me fans might fear we have seen the last of their youtful passion, this album shows their is longevity in this band that transcends mere adherence to typical musical templates.






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