The missteps are few with this release, showing huge promise, a toned down sensibility from Thomas, and a few songs that are truly great (see “Cardiac Harassment”). However instead of, In The Unlikely Event’s, overtly processed effects and production, JLV, prefers a more straightforward approach, solos are abundant yet tasteful, the guitar is raw and melodic without being a cheesy modulated knockoff, and the riffs are spontaneous without being a noodled mess.
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Speaking of pleasing the fans, as you’d expect the guitar theatrics are in full force. This time however, it’s in a more manageable amount, that won’t annoy or confuse the average listener, but will still please fans of the original TFOT material. While even featuring a bit of the biting metal screams, and chugging riffs that adorned the older material. Just look at songs like, “The Circulatory System” a bright, pitch shifted pop song, that actually shows promise in Thom’s sometimes shaky vocals.
Fortunately, with his new vehicle, Just Like Vinyl, the fears of a dried vein of ideas has somewhat been laid to rest, with this glittering oasis of ingenuity, and more confident song writing. Unless you want too.Īfter the somewhat undercooked swan song of Prog-Metal, Post-Everything maniacs, The Fall Of Troy, it seemed that figurehead and leader of TFOT had run out of ideas, or so the rabid fan base seems to think. It’s a pleasure to hear such inspiration and musical euphoria coming from someone who doesn’t glorify weed or the “we are all messed up let’s just chill” vibe. One thing I can say that amazes me about this music, is the 19-year-old who plays and orchestrates the instruments. “Water Turns Back” is a charming ballad of sorts, mirroring its name with cascading guitar lines and crisp drums, all enveloped in a slightly murky haze, as if you had strapped on some slightly water proof headphones and swam in the ocean.
For instance, the opener, “Can’t Stay Awake” which makes a spry Britpop/yelping math rock song, into a more endearing youthful romp, that brings out the what might have been hidden, like the harmonic 60’s pop refrain, and noisy feverishly picked solo and drum break. Turning On changes my mind on the genre with its attention to detail, whereas some bands in this genre might behind the layers of fuzz, frantic drums, and compressed despondent vocals, Cloud Nothings just use this as an endearing shade of their artistic palate.
However, Cloud Nothings has changed my mind in a big way. I will admit that I have never been a huge fan of the so-called “lo-fi” over distorted, smashed together blend of pop, punk, and what have you.
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