Founded in 2012, Nightlife is a four piece band currently based in London. Formed afresh from the band ‘All or Nothing’, the current line up exists of Paul Foster on vocals and guitar, Nick Reynolds on drums, Scott Milner on Bass and James Broderick on Electric.
The magnetic electrifying sound of Nightlife is that of adrenaline inducing guitar riffs and catchy pop rhythm. The EP Road to Hope and Glory is a collection of strong relatable emotion not heard since Blink, Fall Out Boy or Sum 41. With lyrics that are at once repeatable, memorable and classic, and a rock attitude just this side of the British Music scene; you would think these guys could be accused of smoking all day, rocking out at night, before going back to smash up their hotel room.
All these guys are smashing it with excellent arrangements of layered guitar riffs and strong bass lines, making you want to stand up on a chair and wave the Nightlife flag (or head bang) – les mis style.
- plus they’re very nice lads.
The title track, Road to Hope and Glory has all the energy of a volley of tricks and flips at a skate park. With a heavy bass guitar presence and rhythmic guitar riffs, the song is accompanied by some catchy first lines at the verse that builds into a carefully controlled chorus. The track boils down to a well worked elemental call and repeat bridge, picking up again for a rounded classic clashing finish. It pops and rocks in all the right places, and makes dust of all those poor ‘first song in an album excuses’. The song is bright, more than a little bouncy, with the only serious element being the lyrics ‘I never knew I would end up here’.
Put Out the Fire, pulls together a heavier sound with a sharp melody reminiscient of a darker Smash Mouth and certainly that of Fall Out Boy. A give all, stand against all melody of break neck riffs and tense bottled drum back beats. Put Out the Fire is an anthem itself. Not only lyrically, with words and a strength of feeling that is at once hopeful and stirring ‘to put out the fire/you’ve got to set things alight’; but musically. Heralded by some seriously enlightening guitar backing and vocals and an impressive mono to stereo start. The boys talent and musicality really seem to shine through here. What could have been a wall of noise is carefully condensed and controlled into a catchy rollercoaster ride of a track. Its peaks and troughs of vocals followed by instrumental and stripped back bridges, were marvelous and definetely entertaining.
Fools Gold is at once more upbeat and focused, reminding the listener of the opening title of a ninties rom com. The tracks vocals are able to push through far more due to the minimalism of the drums (love the ‘sticking’ -3:33- by the way guys). Which allows for the heart of the track and, what is now seemingly becoming the hook for this EP; the level of heartfelt ‘story’ there is behind its compliation. The reach for the chorusy/harmonious ‘Beach Boy’ effect of vocals is done very well here, with the subtle harmonies blending in quite well. For me the neatness of this track as well as the instrument layering, says it all. If you listen very carefully throughout, the drummer has some very well placed drum rudiment chops that alongside the meticulous riffs and chords and ‘picking’, of the guitarist and bass, just simply, satisfies your ears. All in all makes for a well rounded full accomplished sound.
Too Far In To Quit, changes in tone slightly. It did, for a second sound a little like (and I’m not going to lie) rock country music. It has a classic american punk – rock edge and a clarity of vocals that simply shine. However there’s a twang to the guitar makes it sound more Keith Urban (we have an eleclectic iPod here at TWSH) than Moldy Peaches. This only adds to the magic of this track. It helps keep the band from becoming overly generic and hooks you in quicker when the band return to full throttle. The chorus has almost the perfect hook of mash up of backing harmonies and vocal that is both brilliant and catchy. Before subtly edging into some lark like gentler tones underneath and stripped bare bridge/instrumental/vocal arrangement that ends the track with a rock out. I feel that from the whole EP this track sounds like it would be the more popular on stage. Can you imagine standing in the middle of a packed Islington academy singing at the top of your lungs: ‘too far in to quit/and you’re the reason’. Complete ecstasy.
The entire album feels as if its a homage to an afternoon of hard knocks and memories. And considering what some of these lads have been through it’s no wonder (read their interview on punktastic.com). With a young sound and lyrics that stick in your ears like bubble rap (get it…’bubble, rap’ see what I did there!?), both satisfying and clear. The idea of Nightlife is shifted from your everyday ‘rock band’, to something that is at once anthemic, rebellious, controlled chaos. Nightlife cannot be faulted for having what sounds like serious punk chops with a pop edge. Not to mention musical ability. In this era of indie pop gold and dubstep licked dance collectives, and lots and lots of Mumford & Sons (as much as I love them). The British music scene could do with being refreshed by a sound that’s more Speedcircus and Foo Fighters, than cult indie fluff tomfoolery.
Defintely one of my favorites and definetely worth a listen.
Listen to The Road to Hope and Glory
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