What do we when the lights go down? That's the burning question this Essex based band brought when their hit "Trip Switch" crossed over to American success. The band bring a balance of self questioning relationship centered tunes and hard hitting alternative rock jams, so its easy to find something to please listeners of all tastes.
"Trip Switch" gained play on AltNation in the states, which was my first exposure to the band. I also have the satellite station to thank for turning me on to the likes of Big Data, and of course fellow UK rockers Royal Blood. One thing I've unfortunately noticed about a good chunk of the bands played on that station, other than the ones with established careers; a history of lackluster full length albums after dropping a hot single. Not naming names, but to say I've been disappointed a few times with a debut album from an artist I've liked a song or two from is an understatement.
I wasn't expecting a ton from this album. Hell, I had forgotten about the single before my viewers started requesting a review of the self titled album. I queued it and follow up single "Itch" on Spotify one night last week, and upon hearing them, I knew I had to give the record a shot. It's more than I could've hoped for guys, I'm thoroughly impressed. Now not every song is an instant dose of ecstasy, but there's a reason detectives cross examine the witness. You've got to look at things from every angle.
While it may not be the most cohesive record in terms of how it sounds, I think there's one thing that connects all of these songs. Conor Mason's voice is, naturally, the guiding light, but I think the poetic musings are the element that stay the strongest throughout. Whether it be on the urgent "Drawing Pins", the distant mood swing "Graveyard Whistling", or even the Snow Patrol-esque chiller "Lover, Please Stay", the talent will not go unnoticed, even if I might not enjoy some as much as others.
"Itch" burns away at my eardrums more and more with each listen, playing with a strong lead guitar and a large burst of energy once things really get started. I'm really jamming to "Hostage" as well, and I'm really starting to realize something about this band as I unpack their record. They may present themselves as an alt rock outfit, but "Hostage" and others proves that its not all about rocking out to pack a punch. There's some pounding drums and riffs for sure, but notice the dancing vocals that range all the way up to falsetto, and the spacey synths that haunt the chorus, sounding like a combination of 80s new wave and modern rock.
Falsetto mode gets a little bit old, I'll admit that. Especially when the instrumental doesn't suit it, like on the closer "Tempt You", or at times on the mainly excellent "If I Get High", which gets a pass for its well penned narrative. Mason has the range to pull it off, and things like the poppy hook on "Trip Switch" show when it can used to the band's advantage. Sadly on some of the more slow lit fuses, his voice proves to be less enigmatic than expected, but I definitely see room for growth in his blossoming career.
Nothing But Thieves mined for coal, but actually struck gold a handful of times of this promising debut LP. It may seem spotty at first, but give it a few listens, I have a feeling you'll see that the power lies in repeated listens. Rock out, cry, tell a friend...whatever this record makes you want to do, really. You have my full support.
"Nothing But Thieves"
Released: 10/23/15 (US)
Album Rating: 4/5
Genre: Alt Rock/Indie/Pop
RCA Records
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-Jon (ARTV)
ROYAL BLOOD. The band name I've been preaching to the masses since New Years Day 2014. Don't believe me? Here's proof. See what you get for not believing your old pal Jon?
Anyways, what I'm getting at is that I just KNEW this band was on to something, something special. The abrasive and undeniably hard rock sound that lead single "Out of the Black" provided was enough to give me hope for the year in music. It's stood the test of time quite well, as it will without a doubt be in the top 10 of my 'greatest songs of the year' list.
WHAT makes them such an enthralling listen? Why are they suddenly the saviors of hard rock, or even rock music period? That answer is clearly found in the music itself. There are only TWO band members, a singer/bassist and a drummer. Yes, I'm telling you that this hard rocking duo doesn't even use a guitar, but the tones he achieves with his bass is mind-blowing.
The most enjoyable parts of this record surround those beautiful guitar moments, that channel everything from Wolfmother to At the Drive-In to Led Zeppelin, along with smart and inventive lyrics that actually push the envelope in a year where mediocre has been settled for by the artists AND the listeners. I really don't want to trap them under a specific influence though, because more often than not, the sound can only be described as that of Royal Blood, a name which I hope that soon more will know.
I almost never pre-order albums, but I held on to faith that this would be worth my money and my time. Let's just say I was right on target.
I think the only way to do this album justice is to go through and do a brief discussion on each track from the record, starting with the lead single, also the debut single from this UK band, "Out of the Black".
I've already praised this song numerous times, but I'm laying out my thoughts on it one more time for those who have yet to hear. "Out of the Black" is the best ROCK song I have heard in years. It's perfectly timed guitar and drum hits kick off this song with so much angst, that when the guitar and drums finally unleash, it's impossible to stop yourself from head banging along to the rhythm. Michael Kerr gives a powerful and angry vocal performance on this track (and throughout the album) which rounds out this bands sound. There isn't a weak aspect to them, just powering guitar and drums moments and solos, and a voice that engages the listener from track one to fin.
"Come On Over" strikes next, firing off an assault of mysterious feeling guitars in its intro. The most notable pieces of the track comes in the aforementioned guitars, and it's rotation between softer and more restrained verses, versus an explosive chorus that packs one of the hardest punches that this album has to offer. The lyrics are very sexual in nature, which is why it's music video works so well.
I do have a problem with this record. I can't figure out which track I love more. Is it the song "Out of the Black" which started my love for the band? Or is it follow up single "Figure It Out"? The first time I heard this particular track, I could feel the hairs on my arms standing up and energy flowing through my body. Eureka, this band has struck gold. "Figure It Out" works so well as a whole, balancing a lighter guitar melody and drum pattern, before utterly destroying things (in a good way) in its final act. Kerr's vocals seem so focused and dark, like he actually IS sitting here pondering something, trying to figure out what his next move is. Remember that final act that I mentioned? Yeah, you're gonna wanna make sure you stick around for the entire song. Houston, we have liftoff. That bass gets put to work big time on the outro, and as it pummels with an untamed animosity, I sit here stunned at the simple fact that it's not an electric guitar playing all of this. Truly one of the best songs of the year right here.
Once we get to "You Can Be So Cruel", we start getting to the songs that I haven't heard yet. (Yeah, maybe I'm a pussy for caving and getting the EP, but how the fuck was I supposed to know when they were gonna release an album?) I highlighted this cut and labeled it as a standout for it's old school hard rock edge, and its twisted and passionate love affair lyrics. Tossed to the curb, and this guy is still coming back for more. Women and relationships gone sour are easily the biggest lyrical influence for these guys, but thank the good lord it is NOT done in a way that even remotely feels silly or cheap.
"Blood Hands" is a slow burning fuse that intrigues me from start to finish because of its honesty. Kerr sings "there's blood on my hands" as a euphemism for the guilt that he feels from a certain situation, of which we know very little about. The instrumentation surrounding the track is really what makes things that much sweeter, in a sinister kind of way. This is one of those songs I would want playing on repeat if I ever lived in a dark mansion and had a cat sitting in my lap like my old pal Dr. Claw from Inspector Gadget.
Things aren't quite as splendid on "Little Monster", as the bass feels a bit weaker and less creative, a problem that we haven't seen up until now. It's chorus is, dare I say, catchy, and saves this one from being a total loss. I don't necessarily feel like this is a poor song at all, it's just not of the same high caliber that Royal Blood have shown us up to this point, and continue showing AFTER this tune.
I'm really digging the almost bluesy rock persona that "Loose Change" takes on. It's built on a very simple riff and light drum arrangement, but its true power comes in its lyrics. The song's intensity also hits a new peak in the latter half as Kerr howls "Stop playing god on your telephone", most likely referring to how so many people in our day and age think they're untouchable and anonymous because they can hide behind the modern technology.
"Careless" is a tried and true track that features some Wolfmother feeling guitars, and a message of despair that we've heard many times. It's not unwelcome here though, as we see Kerr in a negligent state of mind, battling against himself as he turns to his vices while attempting to put an old flame in the rear-view.
I'm picking up an ever so slight Tool influence from"Ten Tonne Skeleton", which has evolved in to one of my overall favorite tracks on the record. "Cut loose like an animal, fired out like a cannon ball" Kerr sings over an ever climbing bass groove that never truly explodes, though it doesn't need to in order to succeed.
As far as closers go, you can't ask for much more than what we get in "Better Strangers. A brooding guitar texture shapes up this tell tale song, warning of a femme fetale that ultimately leads one to disaster. Kerr remarks "I'm a thousand miles from danger if I make a better stranger of you". Well said sir.
5/5
