in review

The commercial music industry is a competitive market and one which hundreds of bands battle to break into, many in vain. Every now and then, however, a British rock band seemingly appears from nowhere and hits the big time. Armed with the support of BBC Radio 1 and a legion of fans, Nothing But Thieves are the latest band to do just that with their self-titled début album.

Since their formation in 2012, the alternative rock band from Southend-On-Sea (Essex) have been on a steady upward pilgrimage. In addition to their three EPs released sporadically over the past two years, the band’s single ‘Itch’ was featured by Radio 1 as track of the day. They also landed support act slots on tours by the likes of Arcade Fire, George Ezra and Muse. Not bad for three years work.

Eponymous début album ‘Nothing But Thieves’ is undoubtedly one of the best alternative rock albums of recent years. Aided by lead singer Conor Mason’s haunting, ever-endearing vocals and an anthology of durable rock anthems, ‘Nothing But Thieves’ is a delectable album from start to finish.

The album aims to please from the outset but without a hint of desperation. The influences are clear – Jeff Buckley, Radiohead and U2 moments are littered throughout the sixteen track LP but avoid detracting from the band’s idiosyncratic sound. The Jeff Buckley-esque ‘Excuse Me’ is a killer opener to the album, on which haunting verses evolve into an epic chorus with an incredible vocal performance by Mason. Likewise, ‘Ban All The Music’ is abundant with belligerent guitar riffs whilst the riffs used in ‘Wake Up Call’ mimic those in Pink Floyd’s ‘Dogs’. ‘Trip Switch’, the single release which largely propelled the album features an enormous stadium-rock anthem chorus, utilising the trip switch metaphor to signify the end of a relationship. ‘Hostage’ is abundant with wailing guitars and a killer hook whilst the hook in ‘Honey Whiskey’ features almost operatic vocal moments.

Elsewhere, the band convey a softer side on ballads which punctuate the album beautifully. Mason’s falsetto drifts effortlessly over gentle guitar strums on ‘If I Get High’, a ballad reminiscent of Radiohead which builds to an extravagant climax. Likewise, ‘Graveyard Whistling’ conveys a vulnerability rarely found in contemporary music. ‘Lover Please Stay’, one of the album’s highlights, is a gorgeous acoustic ballad on which Mason uncannily resembles Jeff Buckley; his falsetto vocals fluttering gently over lamenting guitars. It’s a track which really showcases his superlative vocals; every note is aching with sincerity.

It’s an album impossible to pick holes in, one on which album fillers and weak material is noticeably absent. Every song from start to finish is exceptionally written and produced, from its profound lyrics to its huge choruses and catchy hooks. Nothing But Thieves have created a masterful stadium-ready album; an outstanding début.

Rating: 5/5.
Highlights: ‘Excuse Me’, ‘Trip Switch’, ‘If I Get High’, ‘Graveyard Whistling’, ‘Hostage’, ‘Lover, Please Stay’, ‘Hostage’.

‘Nothing But Thieves’ is available now on RCA Victor Records.

“Go tell your friends about it”, Canadian artist Abel Tesfaye croons on track three of latest album ‘Beauty Behind the Madness’. Indeed, it’s an album which boasts amorality, self-absorption and an insensate panorama of life. It is not the first of Tesfaye’s works; this is his second album and fifth collection of songs following three mix tapes and début album ‘Kiss Land’. But whilst ‘Kiss Land’ was a moderate success, it is latest offering ‘Beauty Behind the Madness’ that has captured the public’s attention. Largely propelled by huge single ‘Earned It’, certified platinum in the United Kingdom and best known for being featured in this years Fifty Shades of Grey movie, The Weeknd is fastly becoming the latest R&B sensation to hit the commercial music scene.

‘Beauty Behind the Madness’ adopts a nothing-to-hide approach, presenting themes such as no-strings-attached sex, drug usage, self destruction, the pursuit of fame and disloyal women amongst an eclectic amalgamation of thumping hip-hop beats, shiny brass instruments, syrupy-rich layered harmonies, funky bass lines and weeping guitars. It is a descent into melancholic psychedelia but one which thankfully avoids over-saturation through clever production and an assortment of genres.

Much of the album is an 80’s impelled anthology. ‘Real Life’ opens with irate synthesisers and crashing beats whilst ‘Losers’, a duet with Labrinth, utilises the piano in a similar fashion to Kanye West’s ‘Heartless’. Much of the album continues in the same way; eerie reverberations, clever production and Tesfaye’s angelic vocals smother symphonic scores. ‘As You Are’ borrows ’80’s gated pummelled percussion and clinking synthesisers with more reverberation than the dark side itself. It’s one of the album’s triumphant successes, however; a theatrical sound-scape in which Tesfaye vows to take his lover as they are, scars and all. ‘In The Night’ utilises a shuffle rhythm, growling bass and an irresistibly catchy melody.

Other moments slant heavily into hip-hop territory; ‘Often’ is comprised of a mesh of shrill sound-effects and Tesfaye’s salacious admission of doing it ‘often’. Lead single ‘The Hills’ is a song with instrumentation so precarious, it is a direct reflection of its lyrical content; a narrative about a plummeting sexual relationship. One of the more successful hip-hop tracks is ‘Tell Your Friends’ – a song so rife with hubris, Kanye West would be envious. It comes as no surprise, then, that Mr West himself is responsible for the production of this gentle R&B jam. Fluttering synthesisers and jazzy staccato piano chords make this track reminiscent of West’s ‘808’s and Heartbreak’ album. Whilst the album’s abundance of remarks such as ‘these b*****s’, these ‘n*****s’ and comments upon genitalia don’t come as a surprise, they are not the most fitting complement to Tesfaye’s innocent falsetto whispers. At times the contrast between the two becomes a little unnerving.

Thankfully, the sullen nature of the album is broken up by the odd injection of pop; the primary method Tesfaye has captured the public’s attention is through the selection of radio-friendly singles. Bleak waltz-ballad ‘Earned It’ known for its inclusion in the Fifty Shades of Grey movie is still captivating with its dramatic orchestration and sacharine sweet vocals. It is still as fierce as it was upon release. Still, even the pop moments disguise darker undertones; latest single ‘I Can’t Feel My Face’ is an ode to Tesfaye’s love of sex and cocaine, cleverly obscured by its radio-friendly pop sound. Co-written by songwriting genius Max Martin (the mastermind behind hits by Britney Spears, The Backstreet Boys and Katy Perry amongst countless others), Tesfaye does his best imitation of the King of Pop, drizzling his falsetto-ridden vocals over a funky bass line and tight percussion. It’s catchy, slick and pop music at its best. ‘Who’s gonna f*** you like me?” Tesfaye pines on saturnine acoustic guitar ballad ‘Shameless’. It’s another of the more pop-py moments on the album but one which works beautifully, complete with a warped guitar solo.

Tesfaye depends greatly on mainstream pop individuals on this album, enlisting Ed Sheeran, Lana Del Ray, Labrinth and Kanye West to name a few. ‘Dark Times’, a collaboration with Sheeran is a sulky waltz-like track in the same vein as ‘Earned It’ whilst the Lana Del Ray duet never quite reaches the heights it could. Nevertheless, the collaborations have resulted in an enthralling assortment of tracks.

It’s a dark, moody, seductive and powerful album, an innovative addition to the music industry.

Rating: 5/5.

‘Beauty Behind the Madness’ is out now on XO-Rebulic Records.