By Get Off My Shoes
Get Off My Shoes, Lets Not Rush Out And Tell The World.
Introductory tracks are all the rage these days it seems, every other band does it. But why not? It's appeal lies with the kind of people who loved albums that were journeys through the music, not a collection of singles and its filler. The start of the album has to grab you we're normally told. But if you put a slow start to your album your asking the listener to sit down, and actually listen. Not getting smacked by a huge drum fill intro that tells you your going to listen. It's a diplomatic introduction which also bears the title of the E.P. It's fitting for the name and blends seamlessly into the first 'proper' song of the album which tries to reward the slow start with a more pop oriented sound
The track takes us straight into familiar grounds with well defined choppy rhythm guitars and swirling synths that invoke a child like innocence with their toy organ like sound. Once the drums and lead guitars enter for a build up to the predictable drop off as the vocals enter, the feelings inevitably one of joy. Its a happy sound, although without writing out the lyrics out I'm unsure of the songs narrative, I presume its some sort teenage adventure played out in the night, with love somewhere sprinkled in there I'm sure. Its not original, but that doesn't mean it's not good. Into the later half of the song we're treated to some lovely fast picked guitars that have been slowly growing as a staple solo technique of guitarists all over since those such as Chris Urbanowicz, formally from Editors, and the more pop oriented Two Door Cinema Club made them into a large part of their sound, to name a few. The song reinvigorates itself as it then charges through towards the end. One thing that stands out to me is a lovely light choir from the band that goes over the top of the song in a way that would it be taken out, you wouldn't be able to put a finger on what was gone, but it would have big effect.
The 3rd song takes us back down to more Owl City territory, thanks to the electronic drums and electric piano sound. Its a lovely mix of delicate sounds with harsh electronics that work well together and give the vocals soft delivery a moment to shine. Once the acoustic kit enters alongside the digital the song moves up a gear which compliments the shift in vocal intensity as the piece moves to its chorus and onwards from there with much the same ideas to create a perfectly good pop song.
The 4th song has my favourite introduction once its on its way with its synth line sliding all over jittery snares and energetic guitars, it falls into a verse that ends with well placed gang vocal delivers itself into that lovely sung prechorus before it finds itself in no time at all in a huge gang vocal chorus that adds to its infectiousness with 16th hihats that bring themselves back down as that catchy synth line enters itself back into the fray. The song then retreats itself into its template with an even faster reproach into the chorus before slowing itself down into a noise laden ending that almost suggests itself as a contender as the song to close the E.P.
Track 5's intro recalls bloc party upbeat song Flux with its fast picked guitar leading the charge before it changes its direction into more electronic squelches that ended the previous song, justifying the previous songs placement incidental. When the vocal enter its hard not to notice that the delivery bears a similarity to Angels And Airwaves, which is backed up by the large grandeur sound of the synths and fast picking guitars interlocking. The song is a brilliant piece of writing though, one that I'm sure is a stand out song of any gig that it appears on the set list. The ending of the song once again strikes me as another perfect EP closer with its ladish charm.
Track 6, means nothing to me. I joke of course with the synth drums connection with Ultravox's hit song Vienna. The synth player of the group shows his ability to add textured synth layers in a way that opens the song up in an atmospheric way, complemented perfectly by the sparse guitars that help build up what I imagine is a brilliant set opener or closer. I find myself in love with the chorus that finds its way into the song around 2 minutes in, and at 6 and a half minutes long, its the longest song on the E.P, and that's only a good thing. This is a song to properly be enjoyed. It doesn't have a throw away pop feel that some of the other songs can fall near. It hints at the seriousness of the band. They understand what they are doing and they are doing it well. A good last song leaves people wanting more, this delivers.
The end result of this E.P is something you can listen to and enjoy, it makes me want to see the band live to hear the moments on the E.P that i enjoy, at a much greater volume then i could get away with legally.