Review: Imagine Dragons – Smoke + Mirrors

Three years on, and to say Imagine Dragons have moved on from Night Visions would be a colossal understatement.

When Imagine Dragons announced their UK arena tour all those months ago before Smoke + Mirrors was released, I’ll admit I was a little dubious. I saw them on their last UK tour performing at the O2 Academy in Birmingham – somewhere with a capacity of only 3,000. I’m pretty sure they sold out that night, but there’s a difference between the Academy and an arena 10 times its size. After all, the electronic vibes on Night Visions were fun, but were they big enough for arenas? I didn’t think so.

Then I listened to Smoke + Mirrors. How horrifically wrong I was. Where the ‘heaviest’ song on their previous album was ‘Radioactive’, Imagine Dragons have stripped back some of the tinkling electronic sounds that made Night Visions more of a fun album and instead focused on the raw sounds they can make with their instruments and front man Dan Reynolds’ amazingly versatile voice. The guitars are heavier, and even though there are still some synth-y vibes, Smoke + Mirrors takes the band to whole new place compared to its predecessor. I suppose this is what some people might call a ‘darker’ album than the last, but it’s still balanced out by the more upbeat jams such as ‘Shots’ and ‘Polaroid’. Either way, every song is near perfection. Favourite track: It’s a tie between I’m So Sorry and Friction.

Photos: You Me at Six/All Time Low, Cardiff Motorpoint Arena

Not exactly a review, but last month You Me at Six and All Time Low did a huge co-headline UK tour. It was all kinds of amazing, even though Josh Franceschi had a broken ankle (props to him for seeing the tour through!). Check out some photos (including a bit of the bad ass background visuals courtesy of You Me at Six) below.

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Review: Nothing But Thieves, Clwb Ifor Bach 7/03/15

On the 13th show of their giant 15 show UK tour, Nothing But Thieves hit Cardiff for a night of lights, loud music and the odd spot of drama.

Supporting Nothing But Thieves on this tour were Twin Wild, a London-based quartet. They kicked off the evening with good music and a bit of drama (note: don’t tell the audience you dedicate a giant F U to your ex who is in the audience…), warming up the crowd for Nothing But Thieves.

In a no barrier or stage setting, both bands got up close and personal with the audience. For NBT came the realisation that their band are all pretty small (physically), but for the audience came the experience of an intimate gig. Having seen the band supporting Twin Atlantic playing at Y Plas before Christmas, it was interesting to see them in such a small setting.

They kicked off with Itch off their EP Graveyard Whistling as the room filled out. The five of them coped surprisingly well on the tiny stage area, and got the audience hooked almost immediately. Throughout their set, there wasn’t one still person – something I’ve seen bands at arenas struggle to maintain, but they made it look easy.

Part way through the set, they did a cover of Led Zeppelin’s Immigrant Song. Normally, I condone anyone trying to cover Led Zep, but they handled it incredibly. Front-man Conor’s seamless falsetto suits the song perfectly, and they put their own, slower spin on it at the beginning.

After dropping in some as yet unreleased songs, Nothing But Thieves ended the night on their most recent single Ban All the Music. Never has a room moved so much or gotten so sweaty in such a short space of time.

Throughout the show, the band was lively and engaging – whilst thanking the audience for selling out the venue. If anyone’s going to be playing arenas in the future and selling them out, it’s Nothing But Thieves.

Nothing But Thieves playing sold out show in Cardiff

 

Review: Lights – Little Machines

After months of teasing, Lights has finally released her third full length, Little Machines. It’s been three years since Siberia and a lot has happened to Lights, so this album is a whole leap forward.

It opens with three tracks already released online: the slower ‘Portal’, ‘Running With the Boys’ and ‘Up We Go’. ‘Running With the Boys’ seems like the flip side of the coin ‘Pretend’ started in The Listening. It’s much more upbeat than the 2009 release, though, and the lyrics take a more positive angle.

As the album progresses, it’s clear that it’s lost the almost dub-step edge of Siberia, but by no means the electro pop Lights is known for. ‘Muscle Memory’ strongly echoes Lights’s sound from The Listening with an almost haunting edge. In fact, Little Machines is musically much more like The Listening, but it remains clear that she has come a long way since then – the lyrics have taken on a new edge, accentuating the positive in songs such as ‘Meteorites’, blasting the chorus ‘we are gonna see greater heights/ They’ll put our names up in neon lights’.

After marriage and the birth of her first child, Rocket, it’s no wonder Lights is positive in Little Machines – she has a lot to be positive about. Closing track ‘Don’t Go Home Without Me’ (for those without the deluxe version) seems like a perfect way to end the album. It’s tempo is slower than previous songs, bringing the album full circle from ‘Portal’, and talks about the future. Dispelling loneliness even in her later years, this track peaks at the bridge really showing the diversity of Lights’s voice as she flows seamlessly from belting into a gentle falsetto on the line ‘and we’ll go out in style’. This draws the album to a close beautifully.

Every track of Little Machines fits in with the overall sound of the album, like its predecessors, and although it sounds like The Listening it has the maturity of Siberia and then some. Lights’s sound has evolved through each album, and the current product is a strong sound that still leaves room for her to spread her musical wings. Every track on the album is different, and every one fantastic. Whatever Lights does next, it’ll be hard pushed to top Little Machines, but as we know a lot could happen in the next three years.

Catch Lights on tour in the UK next January.

Review: The Cape Race – Home, Truths

I first heard of The Cape Race three years ago after happening across out their twitter and, shortly after, buying their self-released EP Now, Voyager. Recently, they released their first full length with label Ten Letters and it certainly doesn’t disappoint.

The Manchester quintet have done a lot towards this album in the last three years. The album, Home, Truths opens with ‘Digging For Gold’, a slower track that builds up as it progresses and definitely one of my favourite tracks on the album. The instruments in the verses seem restrained, really letting loose for the chorus in a way that compliments David Moloney’s strong vocals.

Aside from being an all-round great band, it’s Moloney’s voice that really sets The Cape Race apart from similar bands and puts the album on another level. Thankfully keeping his Manchester accent, no track ever runs the risk of instruments drowning out vocals, but Moloney also demonstrates his beautiful falsetto in the chorus of ‘The 77’. Each track gels together, from more familiar tracks to arguably more experimental ones, without jarring or stopping the album’s general flow; ‘Vines’ seems to me like it was written to be a live track, just waiting for an eager crowd to sing it back.

The Cape Race have by no means left Now, Voyager behind in their debut full-length, however, merely built on it. In fact, the album has four of the six tracks from the band’s EP, and personally I’m thrilled. ‘The Reprieve’ was my absolute favourite track – it’s the right amount of catchy without becoming annoying, and the guitars are just as fantastic as the clever lyrics – so to see it made the album was perfect. This way, anyone who buys the album that might not have also bought the EP get the pleasure of it anyway.

The album closes the same way as the EP, with ‘Now, Voyager’. This certainly doesn’t mean The Cape Race haven’t come far, though. Although more lyrically mellow than other tracks, the closing track takes away none of the albums bite. After a calmer bridge that signs off the build up from ‘Digging For Gold’ perfectly, the latter half of the track is more raw and energetic, and seals Now, Voyager and Home, Truths together. To say that this is a solid album would be an understatement; The Cape Race have come above and beyond since their first EP without distancing themselves from it, producing a consistent sound that they can call their own.

Review: Coasts – Oceans EP

I came across Coasts after they followed me on twitter. Admittedly, I don’t normally check out many bands I get randomly followed by – mostly I don’t have the time – but this time I’m glad a did. A quick google told me the quintet hail from Bristol, and the EP itself was released at the end of May. It opens with ‘Oceans’ which starts deceptively slow, picking up pace until hitting the first chorus. There is certainly an indie vibe throughout the EP, and this track opens it perfectly. Deposited the changes in pace, the track flows without jarring and gives the vocals a chance to shine without distracting from the overall feel of all the instruments coming together.

‘Tonight’ has a sort of Two Door Cinema Club feel in the intro. Slightly more mellow than ‘Oceans’, this track is great for just chilling out to. In fact, the whole EP feels like it was written for festivals in the height of summer. The slightly more electronic sound adds another depth to it and gives the band a slight edge over a lot of indie bands with similar sounds. This diversity carries through to ‘Golden City’, another slow starter giving the keys a chance to shine this time as the guitars slightly more of a back seat until around the minute mark. The lyrics match the tempo of the song giving it a wholesome feel blending nicely as the track progresses. It also shows a slightly experimental side of the band with the effects used towards the end, implying that when Coasts release a full length it’ll have a lot to offer.

The final song (excluding the two remixes) ‘See How’ gives way to softer vocals in the intro. Each track seems to emphasise different parts of the band, and altogether show a complete and rounded view of them. Despite the seemingly mellow lyrics, the track develops instrumentally into something deceptively upbeat. Though the EP works well in its studio form, it is definitely made for live performances. Even the slower tracks have an energy in them that’d be enough to win over any audience. I imagine their live shows would be well worth seeing – Coasts have a tour coming up in September which you can buy tickets for here, and you can get the EP here. It’s well worth the mere £2.99!

Review: The Pretty Reckless – Going To Hell

   Back with a bite: The Pretty Reckless drop their second full length, and what an album it is. New label, new tracks and music you can really sink your teeth into.

   Its been a while since Light Me Up, but The Pretty Reckless certainly have not been sitting around procrastinating for four years. The album with ‘Follow Me Down’, and sets the tone for the whole album. Momsen’s vocals have retained their rawness which makes them so appealing – this sure isn’t an autotuned, pop rock album. The main riff is certainly descended from the metal genre, complimented nicely by Momsen’s voice, and this same vibe is continued into the album’s title track. Accompanied by a ballsy bassline and lyrics that only belong in a metal song, this album will certainly have anyone hooked within the first two songs.

   Continuing the darker theme, in ‘Heaven Knows’ the band have included a children’s choir. Yes, it does make you question what their teachers thought when they returned to school singing ‘oh Lord, heaven knows we belong way down below’, but that’s an entirely different matter. The song is extremely catchy, and is definitely a good live song. To be honest, the entire album would be fantastic to see live. This sort of theme continues throughout, as the lyrics and music reach new places that show how the band are moving forwards and defining themselves within the rock/metal genre.

   Less instrument-heavy songs, such as ‘Burn’, show a different side to the band and really give Momsen’s vocals chance to shine. Not only is her singing unique, but it’s clear that it also excels within the context of ‘normal’ vocals. She clearly has a much wider range than previous TPR songs have let on, and it’s a real treat to see the full extent of her talent throughout the album.

   Bottom line? If you want interesting, decent music with a real kick, and tempo changes in songs that for any other band would seem jarring but The Pretty Reckless work with ease, you should definitely invest in this album. The band have progressed majorly since Light Me Up and it really shows, and is certainly enough to keep any fan on their toes wanting more.

Review: Panic! at the Disco – Too Weird to Live, Too Rare to Die!

  Following their 2011 release, Vices and Virtues, Panic! return with a Vegas inspired record – and a new member.

   After releasing Vices and Virtues as a two-piece, Panic! have released a brand new album citing touring member, Dallon Weekes (previously front-man of The Brobecks), as a now official member. The change in the band is evident from the first track, recently released single ‘Miss Jackson’; the bands new music seems to echo that of the first album but more mature as they’ve gained experience.

   To say that no two tracks sound the same would be a colossal understatement, yet the whole album follows the same musical tone created by Panic!. Songs like ‘Girl that You Love’ and ‘Far Too Young to Die’ entice the listener with a more electronic sound – a running theme as the band incorporate what could be referred to as ‘alternative’ music with an almost theatrical take on electropop.

   As Brendon Urie (vocals) has stated in many interviews, the inspiration for the record was Las Vegas – his hometown. This is also clear to anyone who has read the novel Fear and Loathing in Las Vegas (or, indeed, seen the film) whereby the album’s title comes from. The varied music style presented in the album does echo the vibrancy of Vegas, with the much slower, closing track ‘The End of all Things’ showing perhaps a different side to the tourist attraction those who have never lived in Vegas see. 

   The only thing left to hope for now is that Panic! at the Disco’s stage shows match the energy the music in this record emits. The lyrics, never to disappoint, give us a personal insight into Urie’s thoughts, almost. A top 10 album waiting to happen at the very least.

Review: Paramore, LG Arena Birmingham, 23/09/2013

   Three years on and the Tennessee Trio return to Birmingham on their sixteen date European tour.

  The last time Paramore graced the LG Arena’s stage was November 2010 as a five piece. Tonight, you wouldn’t even realise they’d been away. Opening with the energetic ‘Grow Up’, the band have the entire audience moving before the first chorus; the choice of intro song seems very apt as it’s clear to everyone how far the band have come since Brand New Eyes. 

   Front woman Hayley Williams soon takes to the front of the stage and begins a chant which the audience gladly repeat back, soon to turn into the familiar ‘whoa’ in ‘That’s What You Get’. Although the touring members remain planted towards the back of the stage, Jeremy Davis (bass) and Taylor York (lead guitar) waste no time in making use of the space, bouncing from end to end. It’s clear the whole band is enjoying themselves, a feeling taken in by the crowd as they jump up and down to the beat.

   Despite the constant movement, there’s never a wrong note sung; Williams hits every high perfectly. There’s also no lack of audience participation – the whole band are thoroughly engaging, and every time the yellow mic is turned in the crowd’s direction the reaction is deafening. Halfway through the set, a keyboard is placed center stage as the band break into ‘When It Rains’ (probably a welcome sit down for Williams, who looks just as sweaty as those in the center of the pit). All three look equally overwhelmed to hear ‘Last Hope’ being sung back to them, the meaning of which Williams made in a speech before starting the song. 

   As they move through their 21 song set, Davis and York seem to only gain in energy, putting their all into the performance. Following ‘Ain’t It Fun’, Davis goes into a solo, showing his competence as a bassist that may have previously been overlooked. Later during ‘Pressure’ – an old favourite and the only song on the set from first album All We Know is Falling – all eyes are on Davis and York as they set up for the very well-known ‘pressure flip’ among fans which they pull off effortlessly, much to the delight of the crowd. 

   Like all their shows, just before hitting the bridge of crowd-pleaser ‘Misery Business’, the band go into an extended instrumental whereby Williams picks one thrilled looking audience member to take to the stage and sing the bridge. Though the jealousy of those not picked is evident, the goodwill of the fans wins out and the girl chosen today is greeted by cheers and chants as she and Williams complete the song. 
   
   At the end of the song the band leave the stage, and it’s only when chants of ‘paramore’ are at their height do they return for a three song encore. They close the show with recent chart hit ‘Still Into You’, which is accompanied by a large flurry of orange confetti raining down on a cheering and very pleased audience.

   It’s clear Paramore have come a long way in three years. The absence of the Farro brothers seemed barely noticeable as the remaining members filled whatever hole they left both in the band and for the fans. A thoroughly enjoyable, energetic show which left everyone with a smile on their face.

Review: Walk the Moon, Temple – HMV Institute, 26/02/2013

   Face-paint fuelled show as Ohio indie rockers embark on their headline UK tour and hit up Birmingham.

   Following a rather positive reception from supporting fun. back in October last year, and the overall positive reception towards their self titled album, Walk the Moon showed they’re far more than a support band at their sold out show in the Temple putting the quartet firmly on the musical map.

   Using the album’s first track, Quesadilla, to open the show, Walk The Moon certainly began on an energetic note moving smoothly into Next in Line. Though mostly younger teens, there was never a still moment in the crowd – even slower number, Iscariot, invoked a synchronised swaying.

   The band also played one of their older songs, Me and All My Friends, which the crowd were only too happy to join in with, screaming ‘come on over now’ much to the band’s joy. Further proving a strong, ever growing fan base was the audience participation with Tightrope – never has that venue seen so many raised jazz hands.

   The band ended on a seemingly unexpected encore, covering Bowie classic ‘Let’s Dance’, a track enjoyed by all ages, including the parents that were accompanying their underaged children. Needless to say, if they didn’t arrive as fans, they certainly left as them.

   After what can only be described as a buzzing gig, the only hope left for Walk the Moon is that their fan base continues growing and stays as strong as it already has become. Oh, and that they keep producing fantastic music that you can’t help but dance to.



**Quick not – I thought this posted 2 months ago, but it only saved to drafts!!! Sorry for the HUGE delay – I’ll double check next time!**