Maybeshewill from Leicester / UK are also included. They worked on their first two album yet with samples to support their messages, they renounced the predecessor "I Was Here For A Moment, Then I Was Gone" completely out. Nevertheless, there was a varied album that came along sometimes dreamy, but has also repeatedly grabbed by harder guitar riffs. The devil was in the detail and over tracks like "To The Skies From A Hillside" (what a piece!) Or "Red Paper Lanterns" are for me still today one of the best "songs" of the band.
On their latest album "Fair Youth" You handle it as well ... at least for the song. Where ... at "Sanctuary" is a vocoder used. No Matter ...
The result, in my view quite mixed. Very uniform, almost toothless album comes along and after the first passages there are some nice moments, but tracks that tie of second 1 until the end, there is not. To me it is missing here is clearly momentum, with drummer James Collins, clocked like clockwork, once again makes a flawless job. Although the production (taken again by bassist Jamie Ward) sounds similar round like the album before, but also quite smooth. The piano forms almost the center, guitar riffs you have exaggerated said here and there looking almost with a magnifying glass.
That Maybeshewill method according to the book and not try to create something new here, you can not even say. To 2011 met Matthew Daily added to the band, who replaced the piano runs off the production line and has been applicable since a permanent member. As mentioned above, he gets on "Fair Youth" also a large space it fills no doubt. Of course, for this reason also the first single "In Amber" is one of the highlights of the album. Also, there are wind instruments that were recorded live and not get canned. Strings are also included again.
In any case, it's a good start ... Said "In Amber", "You And Me And Everything In Between" and the title track go well in, but it would nevertheless times time for a board. But there's not.
After the original members guitarist John Helps and Robin Southby seem phased to go on standby, and the album goes ahead instead quite nice, quite complacent and in the end it is with "Permanence" or "Volga" including choir even quite nice.
"Fair Youth" is unter'm line certainly not a bad album. Anyone who loves the pop passages of his predecessor and who does not want to exceed the hardness of a "Critical Distance", is hereby certainly well served. Who but a little studied the energy of the first two albums and just needs a little more variety in instrumental cosmos, should certainly listen here again briefly before he strikes.
Brief note: Who is on colored vinyl, can tap on the hinge side of a blue version of the shop of the label Superball offers purple. Both versions are limited to 100 pieces.
