BROAD­SIDE

VIR­GINIA BORN/LA-BASED POP-PUNKS AD­HERE TO THE RULE BOOK ON SEC­OND AL­BUM PAR­ADISE (VIC­TORY)

Kerrang! (UK) - - Kerrang! (uk) -

1HIDDEN COLORS

It’s ironic a band named Broad­side should oc­cupy a nar­row mu­si­cal bracket. That be­ing said, this is en­joy­ably spritely – and fea­tures a Ti­tanic ref­er­ence (‘And if I could paint you like one of my French girls / Would we make love in­side your car’).

2PARADISE

One thing that’s broad about the quar­tet’s out­put is their lyrics, which of­ten deal in big, sweep­ing gen­er­al­i­ties. Oc­ca­sion­ally, as with the line ‘I’ve used my voice to make a bet­ter life’, they pan a bit of gold.

3LOSE YOUR WAY

Slicker and more dance­able than the first two tracks, you’ll def­i­nitely find your way back to this one. Google Maps not re­quired.

4DISCONNECT

Is there a more pop­punk lyric than ‘Wait­ing in the rain for sunny days’? We think not.

5LAPS AROUND A PIC­TURE FRAME

Does the ti­tle re­fer to run­ning around a pic­ture frame, or lick­ing it? What­ever the an­swer, this dy­namic tune pro­vides a wel­come change of pace.

6WHO CARES?

The jaun­ti­ness re­turns here – even if the lyrics dis­cuss ‘drown­ing’, ‘sink­ing’, and try­ing to ‘fight against the cur­rent’. De­spite the angst, the melodies go rather swim­mingly.

7TUNNEL VI­SION

Spiky gui­tars and groovy bass spar with a ful­some vo­cal per­for­mance from Ol­lie Baxxter.you do yearn for things to be less mu­si­cally blink­ered, though.

8SUMMER STAINED

This acous­tic num­ber ar­rives to do just that. Amongst sparser mu­si­cal back­ing, how­ever, Ol­lie’s vo­cals are a lit­tle too sac­cha­rine here.

9MISS IMPERIUS

Opens with the kind of ‘WHOA-OH’-ING that you as­so­ciate with the genre, but quickly overuses its quota.

10PUZZLE PIECES

Not an ode to the frus­tra­tions of miss­ing pieces pre­vent­ing you from fin­ish­ing that Ravens­burger, but a beefy tune about the im­por­tance of hav­ing ‘pas­sion and heart’.

11I LOVE YOU, I LOVE YOU. IT’S DIS­GUST­ING

Ol­lie, like this al­bum, is ‘fi­nally com­plete’ on this ukulele-backed closer.a strong fin­ish from an al­bum si­mul­ta­ne­ously awash with melody, yet (largely) suf­fers an orig­i­nal­ity drought.

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