Radiohead- The King of Limbs (18/02/2011 Self Released)

      The Kings of Limbs is the eighth album from one of the most renowned alternative bands in the world, and their second to be self-released, which is incredibly unusual for such a thriving band. Something no one can deny is the exceptionally unique style, format and delivery that Oxfordshire-bred Radiohead utilise continuously. In fact, The King of Limbs is a reference to a thousand-year-old oak tree which stands close to where the band recorded the album. Although it consists of just eight tracks, The King of Limbs, retains Radiohead’s individuality but also conveys a slight sound variation to an utterly soothing, gentle and serene experience for the listener. Having not released an album since In Rainbows in 2007 which peaked at number one in the UK, and after a spectacular performance headlining Reading and Leeds festival in 2009, the expectation for this brand new compilation was nothing but encouragingly optimistic.

      Having gained a wide range of dedicated fans from all over the world, and being such gifted musicians Radiohead have developed but never compromised their awesome eccentricity and lack of specific genre, and The King of Limbs truly portrays this individualism. They have never moulded into mainstream machines since their 1985 inception, yet their success and fan base appear to broaden continuously, and with indefinite focus on thriving musically rather than economically, there is nothing standing in Radiohead’s path. Collectively, through their music they seem to connect with people on an indescribable level that is unreachable for most other musicians.

     Despite being self-released, this album is beautifully produced and, if nothing else, immediately encapsulates the interest of the ear. The thirty-seven minute recording, like In Rainbows, was produced by Nigel Warwick, and displays Radiohead’s love for employing a number of musical formats, such as seemingly off-beat rhythms, and the wavering, yet haunting vocals of front man Thom Yorke. Their shortest album to date, The King of Limbs, Radiohead released track five, ‘Lotus Flower’, as a single on the very same day the album was released, but they have never been guys for following trends.

     The album commences with ‘Bloom’, which is soft and steady, particularly with the piano-led beginning, which is reminiscent of classical artists such as Ludovico Einaudi. Adrenaline pumps until Radiohead’s signature noise, similar to that of a radio-tuner is admirably administered into the melody and illustrates how fan pleasing this record is, and provides the listener with a taste of the mellow yet vigorous tracks yet to come. The layers of this track in particular seem indefinite, and the use of backwards loops, jazz influences, radiant echoes and unpredictably inputted, precise and succinct lyrics and general song structure display the limitless abilities of Radiohead that are certainly worth embracing. ‘Bloom’ is nothing but a delightful introduction to the album and the way that layers of the track are extracted one after another and the teasing fade demonstrate how carefully, yet effortlessly constructed appear to be.

     ‘Morning Mr. Magpie’, whilst quite an obscure name for a song, is second nature to any person who knows Radiohead well, and the almost incomprehensible dream- related lyrics confirm what an acquired taste the band are. Whilst this track also begins with enchanting piano, the heartbeat-driven back beat is breathtaking in its simplicity. Ending with a fade sounding somewhat like a quiet hover, the chirpiest song of the album, ‘Little By Little’ is another track exhibiting the amazing magnetism of subtle lyrics, given the fact that they are expected to appeal to more people with various relatable personal experiences, ‘Never get noticed. Never get judged...’. There are elements that compose this track that are unlikely to have ever been heard in the music world, bearing in mind Radiohead’s impossible-to-reproduce style.

     Fourth track ‘Feral’ is reminiscent of the band’s divine ‘Idioteque’ from their 2000 album Kid A, with the conventionally rhythmic drum beats layed down by drummer Phil Selway. Unusually, even for Radiohead, the song is completely instrumental, with odd, indistinguishable mumbles from Yorke. But it accurately broadcasts how skilful and inimitable the band are, and I personally find it extraordinary that their sound appears so fresh despite their career expanding almost thirty years. The track concludes with complex pumping bass, similar to that of the beginning of ‘Time Is Running Out’ by long time level-headed musicians Muse. This portrays the eerie, intense calm of the record, as well as Radiohead’s manic ability to make an element as simplistic as a melodic bass line sound impossibly distinct from any other known band.

     Blending, almost faultlessly from ‘Feral’, ‘Lotus Flower’, immediately, it is not difficult to understand why the band released this track as a single, with it being the most musically conventional track from The King of Limbs, even incorporating hand claps. The lyrics in particular, are spellbinding, ‘There is an empty space inside my heart, and now it won’t take the root, and now I set you free...’. Their sentiment surely eradicates any opinion that Radiohead are purely for the more dejected lovers of music, after all, it is the more negative experiences and aspects of life that are the most relatable and full of sentiment, which can always be reflected through lyrical prose. The combination of troubles with tranquillity throughout this album is dazzling, and something that shall be very difficult for other musicians to attempt to reproduce.

     Sixth track ‘Codex’ retreats back to a form which Radiohead appear to be most comfortable with on this record; a pure, unspoiled sound beginning with piano. It is this track specifically, without their signature use of loops and agitated guitar that really encapsulates the breath-taking, rarefied splendour that Radiohead are all about. ‘Give up the Ghost’ is activated by live recorded bird song and the lush, untainted, acapella vocal skills of Thom York, expressing the limitless transcendent thrill Radiohead provide their fans with time after time with tracks such as this expressing the befuddlement relationships can create, ‘Don’t hurt me. Gather up the lost and sold...’. Furthermore, final track ‘Separator’ represents the bands continual challenge to improve on the delights they have / previously composed, and without an insidious constituent in sight, it can only be described as exquisite.

     The King of Limbs unsurprisingly, has already fired up thousands of fans across the globe into endless conspiracy theories regarding song meanings, all of which are of course opinion based. But in my opinion, this charming compilation is wonderful. The remarkable abilities of Radiohead members is are immeasurable, and it is only an exceptionally accomplished band such as them that could ever construct such an overwhelming intermingling of musical ingredients.

    

5/5

Radiohead

'The King of Limbs' Album Cover

The official music video for Radiohead's single from 'The King of Limbs, 'Lotus Flower' : http://www.youtube.com/watch?v=AdFy8oLmnEo

Maroon 5 @ London Brixton Academy (18/02/2011)

     Maroon 5, from Los Angeles, California, were formed in 1992. Under the name Kara’s Flowers, they released an album in 1996, named ‘The Fourth World’, but as it only sold 5,000 copies, the band parted in 1998. Their first album under the name Maroon 5, ‘Songs About Jane’, was released in June of 2002, and peaked at number one in both the UK and the US. Their fan base spread across the world, triggering a sold-out show at London’s Wembley Arena in 2007, and although their most recent show was held in a smaller venue, Maroon 5 still played to a full house of passionate fans.

 

     Extensively touring on ‘Songs About Jane’ from 2003-2005 allowed the band to release two live albums, and win two Grammy Awards for their efforts. Despite the departure of original drummer Ryan Dusick due to tour-sustained injuries, Maroon 5 soldiered on with the help of Matt Flynn in tow. Second album ‘It Won’t Be Soon Before Long’ was released in 2007 with a ‘sexier and stronger’ sound with groundbreaking influences from the likes of Prince and Michael Jackson. Third album ‘Hands All Over’, on sale from September 2010 sold 500,000 copies worldwide and marked Maroon 5’s individual stamp on the music industry. With a perfect blend of sex, love and heartbreak, with both upbeat and ballad-based tracks, Maroon 5 are infectious in their profoundness.

     Support act Sara Bareilles, often referred to as the one-hit-wonder credited for ‘Love Song’, played almost an hour set, allowing listeners to get to grips with her music. She proved her strength as an artist and a performer. With Maroon 5’s fans being somewhat diverse, it was unchallenging to attain a decent spot in the crowd, which also made the atmosphere chilled and blissful. The acoustics of Brixton Academy are indescribable. Every note can be heeded as if every member of the crowd is on the front row. Bareilles’ captivating vocals rapidly acquired the attention of the multitude. It was specifically the belting of ‘Love Song’, a dazzling cover of Coldplay’s ‘Yellow’, and a cover of Cee-Loo Green’s monster hit ‘Forget You’ that really brought the house down. She is a polished and well-produced artist, who cannot be technically criticised.

     Following positive reviews of their latest album, and humbling successes of those before, fans waited with baited breath for an incredible set, and it is safe to say, they certainly got what they wanted. There was an ideal combination of performance and encouragement from the boys as they played one of the best sets I have ever been lucky enough to experience. Maroon 5’s stage arrangements were rather simplistic, but their music abilities being propelled on stage more than made up for that! The crowd’s energy was immeasurable, as was the crave for a glimpse of frontman Adam Levine. Opening with latest single ‘Misery’ it was clear this show would be unlike any other. Each band member was note perfect, but the sound was poles apart from the record in an overwhelming way.

     ‘If I Never See Your Face Again’, ‘Harder To Breathe’ and ‘Hands All Over’ followed without interruption, illustrating the awesome blend of old and new tracks, and a portrayal of the incredible performances that were still to come. Although each track is so varied, by the time Levine introduced himself and the rest of Maroon 5 to the 4921 people in front of him, I was already charmed and transfixed. Title track from the band’s latest album ‘Hands All Over’ is a lose, punchy, rock-driven wrapped up by the unique and breath-taking tones of Levine.  

     Two songs from the quintet’s debut complication ‘Songs About Jane’ exposing how the band have remained incredibly distinctive, but also varied their style and retained masses of fans all over the world. ‘The Sun’ and ‘Secret’ were astounding and exhibited how hybrid yet original the band are, as well as how they have developed  independently as musicians, to produce music that is nothing short of fantastic. The set list had clearly been carefully decided in order to keep old and new fans alike in high spirits, and although each show a band execute is for promotional purposes, arguably, Maroon 5 did not play enough tracks from their new album. However, as each track on each album is charming in its own way, a perfect set list for Maroon 5 is impossible to muster.

      The band’s cultivated musical skill were exquisitely projected through ‘I Won’t Go Home Without You’ and Adam Levine’s instrument diversity was obvious during an astounding cover of Alicia Keys’ ‘If I Ain’t Got You’. Additionally, the group’s passion and talent are remarkable, and their humility is something that can only be praised as well. ‘She Will Be Loved’ is Maroon 5’s token tear-jerker, and it did nothing but that when the crowd joined together with the band to screech every syllable of the song, enough to shatter the wall of the Academy. Tenth track ‘Wake Up Call’ seemed to utilise every scrap of adroitness from the band, and actually appeared to present how energetic they are. ‘Shiver’ and ‘Stutter’ portrayed the band’s positive progression and development from their first to third album, and it is only a good thing that the audience consumed both with glee.

     After sowing the ‘She Will Be Loved’ seed, it was only right ‘This Love’ was performed soon after, and it’s safe to say if the walls were not shattered in their entirety before by the power of band and audience connection, they certainly were. ‘This Love’ is Maroon 5’s biggest hit to date, peaking at number three in both the UK and US in various charts. Adam Levine, in between proving just how flirtatious one man can be with over four thousand crowd members, lead a full blown sing-a-long, attempting to get audience participation to perfection by splitting the multitude to sing the final line of ‘This Love’ in tandem. Although the harmony was not flawless, the band’s efforts and presentation certainly were.

     ‘Makes Me Wonder’ and the melodic and mellow ‘Sunday Morning’ made up the epic encore and by the audience’s noise, they were more than happy with this conclusion. Maroon 5 proved how old and new tracks interlink and connect in ways the listener cannot comprehend unless they experience them live. They depict vulnerability, robustness and delight in unison, and their rock edge is absolutely irrespirable and can only be criticised for not playing enough songs or enough from their album that brought them on tour. Yet Maroon 5’s incredible finesse bursts through every note of every song, exposing why Maroon 5 have such an assortment of fans.

Maroon 5's album artwork for their latest album 'Hands All Over'

Maroon 5

Here are some terrible quality videos I took on the night:

Forget You (Cover)/Gonna Get Over You: http://www.youtube.com/watch?v=oy4k21ecSrw

She Will Be Loved: http://www.youtube.com/watch?v=e-jYuDHW-No

This Love: http://www.youtube.com/watch?v=6B5VTbpCueI

Kings of Leon- Come Around Sundown (15/10/2010 RCA Records)

Kings of Leon was formed in Tennessee in 1999 of brothers Anthony Caleb, Ivan Nathan and Michael Jared Followill and their cousin Cameron Matthew Followill.  Come Around Sundown, the band’s fifth album illustrates their early southern rock and blues influences, and in this day and age, it is incredibly refreshing to hear such a pure and authentic sound. They ascended into mainstream rock after the incredible success of Only By The Night singles ‘Use Somebody’ and of course, the notorious ‘Sex on Fire.’

     Their previous two albums peaked at number one, so there was a great deal of demand for Come Around Sundown to be just as spectacular. All four members were raised in the United Pentecostal Church community, which they utterly rebelled against through the music they created and the tours they experienced. Come Around Sundown takes a jump back to the band’s defiant youth with its chilled, but sex, drug and drink induced echoes.

      There has always been something very haunting about the music that Kings of Leon compose, but unusually, this is without a catchy pop beat or chorus. Track one, ‘The End’ begins with a steady drum beat, then an addition of bass, smooth guitar and eventually the unique vocals of Anthony, better known as Caleb Followill and a gorgeous piano coda. By introducing each instrument individually, each member is able to portray their skill and development as a musician, but it also allows the listener to pick out the various elements that combine together to form the track. With guitaring that flows like a river and a steady back beat, this track conveys how festival-perfect Kings of Leon are, even with the gentle piano to rounding off ‘The End.’ Having said that, I personally, cannot forget the band’s pitiful performance when headlining Reading Festival in 2009.

    The second track, ‘Radioactive’ was released as a single in September of 2010, which peaked at number one in the US Billboard Alternative chart and was nominated for a Grammy Award for Best Rock Performance by a Duo or Group as well as Best Rock Song. It is also utilised in the up-and-coming film ‘I am Number Four.’ As the track begins, you can hear the movement and progression in the beat and the epic arena-filling blare that Kings of Leon possess. The husk and growl of Caleb Followill’s voice enhances the nature-orientated atmosphere, enhanced by the album title itself. The untainted, fresh music is something that the Followills appear to be able to generate so easily and there is something addictive about this track in particular, but not conventionally so. There are so many elements to each track of Come Around Sundown, but in Radioactive in particular, the addition of the gospel choir for backing vocals illustrates the positive progression of the band as they increase in popularity, without compromising the type of music they want to produce thus far.

     ‘Pyro’ was also released as a single, but not until the beginning of December of 2010, allowing fans just a few days to digest the song individually before experiencing the album in its entirety. Peaking at number sixty nine in the UK Singles Chart, it was not recognised as a popular construction single-handedly and unaided by the rest of Come Around Sundown. However, with the quirky yet gentle edge of this track is very rare and very charismatic. The beautiful yet simple riff running through the track drives it, along with the steady drumming, and the listener can feel how much the echoes make Kings of Leon perfect for large venues and large crowds. Wavering yet unchangingly confident and seemingly effortless vocal abilities of Caleb Followill is primarily what makes this band so distinctive.

     Fourth track ‘Mary’ depicts the differentiation in song structures that Kings of Leon decided to utilise for this album, revealing their individuality even further. Although it initially begins as the previous three tracks from Come Around Sundown did, it rapidly develops into a backing vocal piece within approximateky two seconds, demonstrating the band’s diversity of song writing. Yet, it still confirms a classification of who Kings of Leon are musically; something that is pretty much indefinable to anyone but the band members themselves. As the song appears to begin with a chorus-like verse, it is very curious for the listener, and along with the guitar solo, a timeless sounding melody.

     The off-beat and unconventional vibe of this album rings true in ‘The Face’, as well as a portrayal of the band’s humble southern beginnings and honest lyrics combining love, sex and drugs, ‘Beneath the dance hall lights, you see my girl so sound, lights up the ground.’ The Tennessee quartet tend to craft such catchy choruses by repetition, which is clearly within this track ‘Ride out the wave.’ The constant reference to the outside world is also what makes them so perfect for outdoor settings such as festivals, along with their genuine sound.

     Their personal and expressive yet stadium-sound rings true in ‘The Immortals’ and it is a wonder why this track was never released as a single with its stunningly lingering and tear-jerking melody that begins so cheer-filled. The chorus in particular begins instrument-driven until the repetitive lyrics return and tug at the heart strings of the listener, ‘Spill on the streets of stars. Ride away...’. This track is very motivational yet unspecific in what the lyrics are actually about, which is the beauty of it, ‘Find out what you are. Face to face. The perfect picture; they’re always changin’...’ . However there is a reference to the concept of over-thinking because of loneliness, ‘Don’t forget to love, before you’re gone.’ The poignant vocals are almost over-taken by the ever-changing functions of the other instruments in this track, making it expressive and wonderfully lingering tracks.

     ‘Back Down South’ is very southern-sounding, so much so that you can almost smell the outside air. It illustrates the storytelling abilities of Kings of Leon through their lyrics, and how a simplistic song structure, made up mainly of guitar can create a classic sound, not dissimilar to that of The Killers at times. Most of the tracks from Come Around Sundown are unusually base-driven, making ‘Back Down South’ a welcomed addition to the complication because of the variety it provides.  The funk roots of the band are apparent in ‘Beach Side’, yet they still manage to retain their current progressive, laidback and timeless peak.

    ‘No Money’ is instrument driven and sincere, ‘Won’t you peel me off the street...’, citing loss and freedom whereas ‘Pony Up’ brings back the bass-driven sound that Kings of Leon are famous for, and it is amazing that a band can establish such a strong connection with so many fans with such general lyrics and instrument based songs. Moreover, track eleven, ‘Birthday’, expresses high-quality simplicity, and the infinitive power it can have over a listener. ‘Mi Amigo’ confirms the trustworthiness of the band through their lyrical storytelling of a friend who ‘Shows me all the good times...’ with its saxophone padded tune. The thirteen and final track of Come Around Sundown is ‘Pickup Truck’ which displays Kings of Leon’s humility but additional track ‘Celebration’ from the deluxe version brings back their bolder sound.

     The three Followill brothers spent much of their youth travelling the Southern states of the US, which is evident throughout Come Around Sundown because of the feeling of liberty through nature that is constructs. It is darker than previous complications but integrity is something fans of music certainly appreciate nowadays. Come Around Sundown is a beautifully composed country-rock album composed of quirky harmonies, instrumentals and the occasional corker worthy of 30 Seconds To Mars’ summit stadium standards.

Album artwork for Come Around Sundown

3/5

Panic! At The Disco- The Ballad of Mona Lisa (01/02/2011 Fuelled By Ramen/Decaydance Records)

‘The Ballad of Mona Lisa’ has been described as ‘...sounding a whole lot like ‘A Fever You Can’t Sweat Out’, and with this being Panic At The Disco’s best (but sadly, least successful in terms of chart positioning) album to date, this can only be at thing! The storytelling and incredibly stylistic format of the track is something I am sure many a Panic fan has missed greatly. The ‘new’ sound, which frontman Brendon Urie has named ‘a new beginning’, of is down to Ryan Ross and Jon Walker leaving the band on July 6^th 2009, (and not forgetting that of Brent Wilson in May 2006), as well as heavy influences from the likes of Muse (listen attentively to the drum beat) and Fall Out Boy, especially within the chorus. Having stated that, this could be due to Fall Out Boy (R.I.P) bassist, Pete Wentz’s influence upon it with Panic being signed to his label.

     Although the lyrics appear to not be aimed at a particular individual, the track remains personal because it was wholly written by (if that’s possible in a band consisting of two members), Brendon Urie. Urie has been quoted saying he originally wrote the song to express his apparently infinite struggle with his personal convictions, ‘...the inner struggle...growing pains.’ It was actually written before the band had begun to piece together their third album ‘Vices & Virtues’, on which, ‘The Ballad of Mona Lisa’ is featured.

     The track itself describes the difficulty of a relationship with a person who refuses to physically portray their emotions. It also pin-points the habit of over thinking, ‘Her words are spinning through his ears again...’. Although Urie, with his charmingly smooth vocals, has conjoined his personal woes to an imaginary story, the track, specifically the haunting chorus, is lingeringly memorable, smart and a massive punch in the face for any past critics. It is clear no one can accuse Panic of being sell outs with the eerie pop style they utilise. The song is incredibly anthemic, do the point where you can practically hear the festival crowds shouting back.

     It has long been difficult for critics to place Panic! At The Disco within a genre of sort, so fans have settled for definitions such as ‘Emo’ and ‘Baroque Pop’, which remains so with help from this new track. Something that is certain is that, judging by the reception at the band’s ‘comeback’ gig on 8^th February in London, is that this is something the fans embrace. Unusually, there is nothing cheesy about the track, despite it concerning complicated relationships. Urie’s voice in particular, is full of energy, charisma and charm, which are three aspects that simply cannot be taught.

     Panic! At The Disco have retained their unique, enchanting style, although they appear to have matured since 2005. But there is defiantly something surrealist and supernatural about Panic’s style; something that cannot be defined, which is sure to keep ears pricked for years to come.

     Watch the full music video of Panic! At The Disco’s brand new single ‘The Ballad of Mona Lisa’ here: http://www.youtube.com/watch?v=gOgpdp3lP8M&feature=branded . Their new album ‘Vices & Virtues’, with ten brand new tracks including ‘The Ballad of Mona Lisa’ is set for release on 29^th March this year.



4/5

Mayday Parade- Anywhere But Here (06/10/2009 Atlantic Records)

     After the well-documented departure of vocalist, lyricist and guitarist and of Jason Lancaster at the end of 2008, Mayday Parade, of Florida, USA, fans were understandably concerned about the future of the band and the progress of their follow up to 2007’s ‘A Lesson in Romantics’, without their Lancaster. Without him, the band appear to have matured in musical ability, creating this tight and punchy record, made up of one part lyrics pin-pointing the ins and outs of relationships with light emotion, one part skill projection and one part venue-filling noise.

     The noticeably varied sound from earlier material is mainly due to the lack of Lancaster, which angered many fans who had first loved the band with him intact. But it was also the growing maturity of the band to where their hearts on their sleeves to create an honest album, capable of connecting with fans poignantly. ‘A Lesson In Romantics’ almost appears to be EP standard compared to the production found on ‘Anywhere But Here’, because of the move from Fearless to Atlantic Records. Writing this album took almost a year, beginning just after Lancaster going his own way and posting direct posts on his MySpace blog regarding the situation, ‘I hope that one day we can all be friends again...I am leaving the door open for whenever you guys (the band) can bring yourselves through it...everything is cool...but the bands you love aren’t always what they seem...’. In actual fact, Lancaster raises a critical issue with his statement, because the rift between him and the rest of the band, at first, took huge precedence over the pre-production for ‘Anywhere But Here’.

     Recording was complete in June 2009, with the title track released soon after. Perfectly punchy pop-punk beats drive every track on the album, and with the irresistible combination of catchy choruses and succinct lyrics, ‘Anywhere But Here’ is a positive combination. The very first track, ‘Kids In Love’, which was released as a single, has lyrics that unswervingly tag nostalgia, which has always been a popular pop-punk theme. They make a clear aim for the teen market, ‘The summer was full of mistakes...the first kiss stole the breath from my lips, why did the last one tear us apart?’. Telling tales of teen romance failure is a huge element of what makes Mayday Parade so successful, and with the addition of soothing backing vocals from drummer, Jake Bundrick and enticing melodic features, it is a very compelling track for teens.  

     Title track, ‘Anywhere But Here’ defiantly has the greatest attention to detail in terms of overall production in comparison with other tracks on the album. The steady beat only enhances the catchy melody and lyrics marking the difficulty of misery and loneliness after the breakdown of a relationship. In fact, if the rock drum kit was replaced by an R&B esque backbeat; this track would be conventionally pop, especially with its incorporation of key changes and enhanced backing vocals. This is clearly something that has made Mayday Parade more appealing to more people since their subtle inception onto the scene in 2005. ‘The Silence’ begins with an edgier format, but although every track speaks of the troubles of love, this tells a tale of a girl experiencing a gloomy period of life, ‘With every beat there’s no escape...it won’t ever be the way it was...his heart of stone left hers breaking...nothing left inside’...you get the idea! However, in the past, the gloomier songs are the most successful because of the audience connection they evoke, for example, the Green Day track ‘Boulevard of Broken Dreams, Boys Like Girls’ ‘Thunder’ or Coldplay’s ‘Fix You’.

    

     Track four, ‘Still Breathing’ employs a similar sound to that of Lostprophets but without their arena-filling production and remarkable lyrical connections with fans, it does not quite work in the same way, ‘I got to find my way out, I’m hoping...’ appear miniscule in association. By track five of the album, the bite appears to have been misplaced, with pitiable lyrical elements, ‘Someone please sing this love sick melody...’.  The title of the following song, ‘If You Can’t Live Without Me, Why Aren’t You Dead Yet?’, as well as the opening, are very reminiscent of A Day To Remember, but without the inclusion of screamo, and despite a half decent guitar solo in the bridge, for more of a wall of sound, the potential anger-filled moment is lost in pop punk hooks.

    

     ‘Save Your Heart’ is a touching, heart-felt and well produced track, that could easily make a grown man bawl with the emotion it can evoke, varying from how depressing heartbreak can be ‘She fell to the bottom of life...’ , and how difficult moving after a break up can be ‘Try and get up, you’ve got to slowly brush off, I know that words aren’t enough, but you’re better than this.’ Yet the deep and harsh emotions referenced are almost wasted on early teens that are less likely to truly understand the cruel sting of love. Having said that, the band does extremely well in promoting uplift in such situations, and the lyrics are nothing short of overwhelming, ‘Never get what you’re crying for, it’s always the same...you give, and they take, and it’s love that you want, but not love that you make...’. With many an air-grab perfect moment, beautiful lead and backing vocals and endorsement riffs, as well as sheer honesty through the lyrics. This is without doubt the best track on the album by far, and portrays the potentially epic sound this band could have.

     Yet again, Mayday Parade appear to have extracted the most loved sound elements from, let’s face it, better bands in an attempt to gain fans. As well as tracks three and four, track eight, ‘Get Up’, the trend appears through the guitar introduction, bridges and subtly in the chorus, with reference to Blink-182. No one can doubt their success and as Mayday Parade have yet to find a perfect sound of their own; they have made themselves very venerable for dislike. But the alluring riffs have carried them through. But ‘Centre of Attention’ almost contradicts this idea of incorporating other bands’ best elements, because the melodic and pop punk qualities, although conventional for the genre, if a little tame, which somehow makes them individual, and the lyric ‘sing it for somebody who cares!’ is perfect for gigs. ‘I Swear, Time I Mean It’ is Mayday Parade stripped bare, and an acoustic track, it could be considered as dull or simplistic, but in fact, it actually highlights the raw talent of the band.

    

     ‘The End’; perfect final track for ‘Anywhere But Here’, with its references to the evolution of the band itself and honestly charting internal emotions of their progress, ‘How can you think that any of this was easy, with all the friends I lost along the way?’ With fading guitar, wholesome vocals and a punchy chorus, it rounds off the album lucratively. But, bonus tracks ‘So Far Away’ and ‘The Memory’, although inevitably do what they say on the tin; seem like excess after an eleven-track album. ‘So Far Away’ is jaunty and gig-perfect, ‘...this place can burn for all we care.’, and ‘The Memory’ reverts back to Mayday Parade’s ‘Miserable At Best’..best.

    Despite ‘Anywhere But Here’ being somewhat lukewarm towards the middle, the band’s capabilities are portrayed in tracks such as ‘Save Your Heart’, which would have more than likely been a very strong single. Their influences are obvious, but to achieve a phenomenal album, they cannot play it so safe. Mayday Parade’s potential depth is remarkable and shines through some tracks,  whilst others are almost worth skipping, but this record gives them a good shove in the right direction.


3/5