![]() ![]() “Fame” starts with a charming, blocky synth riff, but after the guitar, bass, and drums kick in, it’s lost. The final critique I could offer would be in the mixing. Five lines sitting on your dresser for you.” Short, Precise, and moody. The vocals are clipped and moody, and the lyrics reflect this precisely: “Five lines written on a postcard. Later in the album, lead-single “Postcard” actually succeeds at a similar sound. The song also features yelling, but it’s mixed so low it’s as if they are ashamed of it. ![]() It’s ham-fisted, so much so that the singer purposely omits a curse word in the song multiple times, leaving the space blank. It’s reaching for a hard-boiled creepy vibe, but it sounds like a 2000’s Joy Division rip. The next two tracks, “Spinning” and “Afterparty”, continue in much the same fashion with similar success. ![]() The chords are cream, and the vocals are smooth. “Midnight Zone” is a successful showcase of this new sound. Strange, clipped vocals swirl in the background. It begins with a synth loop and morphs into a familiar-yet-kind-of-different groove. Both were produced by noted scene-icon/producer Will Yip, and Light We Made is as well.Ĭhoosing “Midnight Zone” to open Light We Made was intentional. Although their debut, Separation, does come off a little less mature than the more focused and muscular The Things We Think We’re Missing, they both present similar styles, namely moody post-punk similar to Sunny Day Real Estate, Tiger’s Jaw, or pre- Hyperview Title Fight. One question remains: is Balance and Composure’s new album, Light We Made, a slick and successful movement toward a fresh sound, or is it an awkward stumble?īefore Light We Made, Balance and Composure put out two albums of basically the same music. Post-hardcore peers like Title Fight and Citizen have already ripped this path. Although, being from a scene that has always embraced change of this sort makes it seem a little different, almost expected. Balance and Composure have changed a bit. ![]()
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