Kids In Glass Houses, a quintet from Cardiff started life with support slots for the likes of Lostprophets, 30 Seconds To Mars and Manic Street Preachers in late 2006 and early 2007. After several variations in line up, their third full length EP ‘E-Pocalypse!’ was released in October 2006 and despite that they remained unsigned at the time, they received much praise within music media from Kerrang, NME, XFM and BBC Radio 1. It was clear that there was much attention surrounding Kids In Glass Houses and although they were beaten by Gallows for Kerrang’s Best Newcomber Award in 2007 followed by supporting Funeral For A Friend on tour in December.
Their first album, ‘Smart Casual’ was primarily pop-punk based and a more mature sound arose from their 2010 album ‘Dirt’, which left them with a great deal to live up to. Frontman Aled Phillips explained that ‘In Gold Blood’ would throw the band into a ‘radically different direction’ which is never something fans can take lightly. The album aims to fundamentally be conceptual and illustrate a journey through its tracks. The first track ‘Gold Blood’ was the first single to be released from the record on 5th June 2011 and it certainly portrays the variation in sound. Beginning with a heavy, undefined and almost unrhythmic riff, it is clear the pop punk days of Kids In Glass Houses are well and truly gone! However, the steady beat and anthemic sound are welcoming and convey the band’s capabilities as individual musicians. Lyrically, the track is rather complex, especially for potentially young listeners and although there is no sentimental value, the song is catchy and effective, ‘When the golden gods and clowns come to save you, with gold blood...’.
Without conventional rock hooks it can be difficult to entice the listener but with a title like ‘Teenage Wonderland’ the second track should be full of cheer and contentment. Instead, it is reminiscent of being young ‘When we were young, we made the mistakes that make us what we are today...’, without a trace of a tear jerking breakdown. Although a similar sound to ‘Matters At All’ (‘Dirt’), the track demonstrates how much the band have developed. ‘Diamond Days’ is also somewhat similar to ‘Matters At All’ and is the first song from the album to reference specific relationships of any kind, ‘I feel your body shaking...could be the devil talking...’, which is extremely rare for a rock band. The 30 Seconds To Mars esque, rapid back beat and strong instrumentation portray how hard the band have worked on the arrangement of each track and to (cliché as it may be), to appear as individual as possible but retain their appeal. The blend of each instrument is flawless and the unedited vocals of Aled Phillips are very refreshing and encouraging for up-and-coming live shows.
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| Artwork: 'In Gold Blood' |
Fourth track, ‘Not In This World’ is the signature crowd pleaser as it commences with light gang vocals, ‘na, na na na na...’ and proves how much Kids In Glass Houses intend to be accepted. Although the track takes over thirty second to actually come together, it is remarkable how well Kids In Glass Houses have managed to pin-point precisely who they intend to be as a band. Particularly within this song, Phillips’ voice is both unique and powerful, especially when he truly opens up his vocals. The riff, drumming and continuation of gang vocals blended with the melody is faultlessly faded out and is clearly an intended final song for future performances. ‘The Florist’ exposes the vocal range of Phillips’ and how a melody with a collective pronoun, ‘If we want what we need...’, can bring musicians and fans of music together. The wave of full power to a gentle melody and back again and later into a horn section followed by a classic rock riff is seamless. Additionally, the personal element of the lyrics establishes a connection with the listener and charts the progress of Kids In Glass Houses’ audience connection techniques; ‘I remember the day the music died, I remember the way my mother cried when daddy went to war...’.
Released as a single on 7th August 2011, ‘Animals’ begins with steady drumming and guitaring and evolves into an off beat, soulful rock song. ‘Only The Brave Die Free’ utilises a brass section as it commences, proving the potential diversity of the rock world as well as the extensive production process carried out by Jason Perry, that has obviously been necessary to create ‘In Gold Blood’. Although this track would not be out of place in a hope-filled musical, it is provides a glimmer of the band’s former ‘Smart Casual’ sound and ‘Easy Tiger’ in particular. It is interesting to note that Kids In Glass Houses have remained with Roadrunner Records since their very first record yet have retained their sense of self, expanded their fan base and enhanced their production and style in four short years.
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| Kids In Glass Houses: 'Gritty, refreshing and sharp...' |
Eighth track ‘Annie May’ appears as the weakest track of the album thus far with its limp verses yet the chorus is the saving grace due to how raw and rough around the edges Aled Phillips’ vocals are. Even though this song is by no means a conventional ballad, it depicts how diverse Kids In Glass Houses are as song writers and musicians. The track also acts as a potential half-way point in a gig set list. ‘Fire’ is full of funk, wit and eventual vigour although lyrically, it is somewhat disappointing in its simplicity and bluntness; ‘We walk into the fire, fire. We dance into the fire, fire. The flames are getting higher, higher...’. The saxophone section is very ‘Mellow Magic’ but somehow appears as the track’s missing link as violin solos seem the perfect addition to Yellowcard’s work. It also adds an exciting element for tours yet to come. Moreover, the curious drumming solo to close the song is something very rare and effectual. ‘Black Crush’ is unavoidable but unfortunately very weak whereas ‘A God To Many Devils’ is astounding vocally, particularly the medley of the album’s content towards the end.
Gritty, refreshing and sharp, ‘In Gold Blood’ is a record that, if nothing else, is likely to establish Kids In Glass Houses as mature musicians full of energy and enthusiasm. Even though the two singles from the record are actually the heaviest tracks which is misleading to say the least, each chart-ready chorus is unblemished and distinctive.
4/5
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