Body of Light : "Bitter Reflection'

 

After a month of reviewing death metal albums, I needed something to give my ears a rest and with gears, which this album did beautifully. The duo's sound has been further tweaked. While they still straddle the balance of capturing a sound vs writing songs, they are using the refinement of sound to further their songwriting. The vocals feel more in line with who they are. They crooned without emulating say Depeche Mode, whose earlier work still stands as their biggest influence. It can perhaps still be felt heavily on the song "This Conversation" with the synths that bounce around the lo-fi 80s drum programming. Much like Depeche Mode from that era, this is upbeat new wave pop with a hint of shadow to it. 

"Fortia" which is one of the album's three instrumental tracks, just feels more like an interlude, even with the samples helping to form a little more of a narrative.  The title track that follows this is a ballad that recalls the era of the 80s they trying to recapture. But much like that decade, the vocals did not rely on studio trickery so you had to actually be able to sing., The vocals are less indifferent than the previous release and empowered by a great deal more feeling. "Out of Season' however get a little upbeat for me mood-wise.  I do not think the hooks have been leveled up enough to justify this. 

That is not to say they do not try harder on "Never Ever" to accomplish this. They even bring in a saxophone. I have just heard too many bands like Black Queen and the Midnight trying to do similar. "Hyena" is another interlude that floats on synths without going anywhere. "Last Repose" leans into the slick synth-pop that is adulting here, before letting the album end with a more atmospheric outro. I will give this album a 9, I think this is a logical progression in the right direction for this project, perhaps not the most original album, but one that is well done for what they are doing.  

Blaqk Audio - " Beneath the Black Palms"

I went back to relisten to "Sing the Sorrow" a few weeks ago. It had not held up as wel as I had hoped, mainly because Danny's high shouting vocal did not have the power I remembered. Over time AFI evolved into something that makes them more similar to his side project than not. Fairly up beat synth wave. This feels like old Depeche Mode. Havok's vocals are a little more resonate here than his younger days in AFI that I revisted. The song writing is even more polished than the ast time I heard him. I feels like he is more into this genre than AFI's last attempts at punk. He uses more vocal coors on this album which I appreciate and keeps a dynamic flow to the album where other bands are not as gifted in this area.

His voice drops down to the more typical dark wave baritone on "A Distant Light" . They go in an even bigger VNV Nation direction musically on "Hiss" . This album touches on all the brands of synth pop that came out in the 80s with new wave on "Burnt Babies Fear the Fire". There is a Gary Numan touch to this song. They stay in the same zip code of upbeat 80s pop on "Fish Bite" . His vocals are perhaps marginaly more melancholy. The hook in the chorus is pretty strong. The reverse is true to " Bird Sister" where it feels stronger going to the verses and the chorus is more dialed in. Not a bad song though, just not as good as the previous one. The same can almost be said of " I'm Coming Over" .

The "People are People" bounce to "Tired Eyes" doesn't grab me as much either. The vocals are not the most inspired of the album. They back off a little on the last song. Over al it's an enjoyable listen even though I am well versed in the influences I am still able to listen to this for what it is. I will give it a 9 and see if it grows on me.

White Lies : "Friends"

There are a few things going on. First is the are the more radio friendly version of new wave, then they also sounds like the Killers, but there is a slight hint of Inxs thrown. "Morning in LA" is even more radio friendly than the first song. When you are making this kind of music the hooks to your choruses have to be air tight and I think the verses to "Hold Back Your Love" work better than the choruses, so that is problematic."Don't Want to Feel it All" is slower, but not yet a ballad, would work in a John Hughes movies and the groove is pretty solid. "Is My Love Enough" has the beats redeeming some of the more stagnant moments.It comes across more like Roxy Music which I am fine with.

Midway into the album it's still hit or miss with "Summer Didn't Change a Thing" playing it too safe, to the point of almost boring me. There is a colder pulse to "Swing" .  "Come On" is another case where the chorus is underwhelming. You are waiting for the song to kick in longer than you you should. Even when the guitar joins in it feels like to little to late, though going into the second verse there are some really cool guitar tones. They eventually swell up into a more Killers like refrain, playing both sides of the retro motif. "Right Place" flows a little better. The synth bass line in this one is call and makes the most of the baritone croon over it.

This is purposefully not the most original album, but it does have a certain charm to it. I'll give it an 8. If you were a fan of the 80's resurgence that happened in the early 2000s with bands following in the foot steps of Interpol, then you will dig what is going on here.