1.

Plovers

Fear the Man Who Hides in Light

At the summit of The List this year sits a perfect post-hardcore record. It’s Plovers’ debut, and also final, album. There’s no question that the circumstances surrounding its release have added to its mystique and appeal. After years of scrubbing around as an underground band in the Melbourne post-hardcore scene, Plovers were finally in a position to make a record. And, my goodness, did they grasp that opportunity with both hands. But then, immediately on its release, they announced they were breaking up, booked in a small farewell gig a few weeks later, and stated very clearly that it was their final show and there would never, ever, be a reunion. With that, Plovers did a Keyser Söze: poof, they were gone. The very same month that this album appeared, and I was falling deeply in love with it. That this fantastic record (and two strong prior EPs) is all I’m ever going to get makes Fear the Man Who Hides in Light feel extra special.

The approach that Plovers take (took, I guess) to post-hardcore is situated at the genre’s more accessible end. They’re certainly capable of the more progressive, complex version too, à la Porcelain (who released the other great post-hardcore record this year). That ability is demonstrated by three tracks on Fear the Man Who Hides in Light (lead single ‘Putrid Thoughts’, and the album’s final two songs: ‘Shade’ and ‘Not Exempt’). All three move things into different territory, of a much more ‘open’ sort, to great effect. But for the most part this is a record of simplicity: hooks and instantly memorable choruses. The sung/shouted explosion of opener ‘John Lennon’ sets the tone, worming deep into the head before the killer second track, ‘Greed’, ramps things up even more. From then on, we’re just flying.

It’s worth noting that Fear the Man Who Hides in Light shares some connective tissue with Press to MECO’s excellent Transmute, which topped The List in 2021. And not just cause they’re both great post-hardcore records released immediately before the respective bands that made them broke up. Transmute is also full of powerful but immensely catchy tunes. And both records are elevated above the pack by excellent, socially focused lyrics. Where MECO’s main concern was the environmental crisis, though, Plovers are leftist woke warriors – taking aim at capitalist greed, far right hate, and a stagnant white-cis-straight-male world view. It’s not for show, they have real fire in their bellies. These snowflakes are made of iron. That sincerity is crucial to their appeal, as is the fact that the lyrics are great not just at the thematic level, but line by line: ‘You’ve got a leer/that makes it clear/that you’re a misogynist’ is my favourite, but I like pretty much every word.

Fantastic lyrics mean little if the tunes aren’t there, of course. And so it’s the combination of the two that makes this record so outstanding. I still go back to Transmute all the time; no question Fear the Man Who Hides in Light will be joining it as one of my handful of go-to post-hardcore records from now onwards. And maybe one day I’ll get a reunion album to add to it. You never know.