James Arden checks out the garage rockers latest album.
The Christian rock band from Brighton bring religion to the masses.
Recipe for modern R'n'B album: liberal helpings of guest rappers and an overdose of sexual euphemisms.
Here and Now will no doubt be a success with fans but once again sees them ensconced in the radio-friendliness that continues to alienate their early die-hards and fuel their strongest critics. All the standards we have come to expect are in place on a slightly predictable record, but to the band’s credit there are attempts to diversify, served up with palpable energy. The formulaic nature of this collection can be jarring, but objective of course, I must look at this as a standalone product and shut-out any gripes surrounding past glories.
Lead single ‘When we Stand Together’ oddly recalls Michelle Branch’s perennial pop-rocker ‘Everywhere’, but without her spunk or edginess. While the syncopated beat courtesy of Daniel Adair succeeds in getting the foot tapping but the semi-acoustic arrangement fails to give things the lift it so-badly needs.
‘Midnight Queen’ whilst catch enough - possessing a sensual, snaking guitar riff and some superb wah-wah-drenched soloing - is ultimately disposable, the energy cannot distract from what is essentially an inferior lift of ‘Something in Your Mouth’ from 2008's Dark Horse. ‘Bottoms Up’ continues in this vein; however in this instance the bite is just as strong as the bark; riff-heavy enough to get the heads shaking. The less said about the lyrics, the better.
Fortunately, Chad can still knock out a hero’s anthem when he puts his mind to it – ‘Lullaby’ reeks of the same cheese as ‘Photograph’, but the gratuitous piano stabs and ‘all-join-in’ chorus wield considerable power here – though the orchestration sounds at times contrived, there is no denying the gem of a song lurking beneath the surface; a sentiment I can echo for ‘Trying Not to Love You’.
When it comes down it, Here and Now will remain divisive; a stance which has plagued much of the band’s catalogue. Fans will thoroughly enough much of what is on show here, all of which will be lost on their harshest critics. From where this writer is standing, we have that most frustrating of records – it’s alright, the hooks are there, the sing-along choruses are there, but the layers of gloss mask an emptiness that is hard to ignore with repeated listens. Wash, rinse, and repeat indeed…
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