The Wanted is an Anglo-Irish boyband formed in 2009. Their debut single ‘All Time Low’, released in July 2010, peaked at number one in the UK for one week and provided the band with the perfect platform to start their career from. Following The Wanted’s first UK tour, their second studio album, ‘Battleground’, promoted by single ‘Glad You Came’, which also reached number one in the UK for two weeks, sold over 47,000 in its first week.
‘Glad You Came’ begins like a generic, pop ridden ballad with the simplest of piano chords leading the vocals, until it erupts into a studio-formed bleeping back beat, which is however, incredibly infectious. However, as much of The Wanted’s fanbase is very young, perhaps a club based track was not the best idea, although it does portray the progression of pop into what is considered pop music today. Yet the track ends as it begun, so it doesn’t quite work as a club track or a pop-based ballad, proving that the band have no ultra specific audience in mind. Having said that ‘Lightning’ appears to be using the club vibe as well. Also, it is never a great idea to open with your first single, unless the remainder of the record is just as good commercially, which, of course, it isn’t.
Bouncing between trance dance-pop and mid-tempo pop ballads, Battleground is unoriginal and unexciting, which is not helped by drab, somewhat childish lyrics, ‘You’re in control pressing pause on my heartbeat. Someone stole all the air so I can’t speak.’ Yet, it seems like the verses of ‘Lightning’ were written by completely different people, or as if the verses haven’t been composed with any specific listeners in mind whatsoever. ‘Warzone’ is a very wavering attempt to create a haunting ballad and construct some sort of album theme, neither of which are successful. If the vocals were any good, they could be placed with a few guitar and piano chords, and perhaps a light drum beat, but it appears as if the pitch bend and voice-editing techniques have been used to hide a lack of strong talent.
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| Battleground: Not so much 'Artwork' as a generic band shot |
To be taken seriously, pop bands need to prove some sort of concrete musical ability, which makes The Wanted laughable in the face of bands who actually sing throughout their songs, without chucking in thumping clubbing beats here and there, and ‘Invincible’ is no different. The rising rhythmic vocals and back beat of ‘Last To Know’ are more tedious than the build up in a Meatloaf track. Back beats only work if they are abnormal and do not distract from the vocals, neither of which occurs in this track. Even when all instrumentation is dropped towards the end of the song and vocals are pushed stage-front, they dreadful, although the ending is very good.
Behind the mostly dire vocals, producer, Steve Mac has carefully considered track order; with good blend of ballads and pop pieces, but with tracks like ‘I’ll Be Your Strength’ combining both, it is difficult to work out which direction The Wanted want to head for. However, their current firm fanbase gives them some leeway for future creativity. ‘Rocket’ and ‘I Want It All’ lack anything that makes a song good, and ‘The Weekend’ uses a build up technique without a strong beat leading it, making it a train-wreck from the outset.
‘Lie To Me’ commences with eerie instrumentation disguising it as the opening of a metal track, but within twenty seconds it has seems to become a filler track, just like the majority of ‘Battleground’, but actually has a similar sound to Westlife or some of Take That’s more recent releases. This album is rounded off with ‘Gold Forever’ , the official 'Red Nose Day' single, yet another studio-constructed instrumentation and vocal mash-up that builds into a half-hearted dance track with recycled, choppy string sections from ‘All Time Low’.
Behind the mostly dire vocals, producer, Steve Mac has carefully considered track order; with good blend of ballads and pop pieces, but with tracks like ‘I’ll Be Your Strength’ combining both, it is difficult to work out which direction The Wanted want to head for. However, their current firm fanbase gives them some leeway for future creativity. ‘Rocket’ and ‘I Want It All’ lack anything that makes a song good, and ‘The Weekend’ uses a build up technique without a strong beat leading it, making it a train-wreck from the outset.
‘Lie To Me’ commences with eerie instrumentation disguising it as the opening of a metal track, but within twenty seconds it has seems to become a filler track, just like the majority of ‘Battleground’, but actually has a similar sound to Westlife or some of Take That’s more recent releases. This album is rounded off with ‘Gold Forever’ , the official 'Red Nose Day' single, yet another studio-constructed instrumentation and vocal mash-up that builds into a half-hearted dance track with recycled, choppy string sections from ‘All Time Low’.
With unfortunately catchy, crappy tunes, rubbish vocals and an overuse of synth, ‘Battleground’ is basically two half decent singles and a bunch of quality-lacking fillers.
1/5
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| The Wanted |
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