REVIEW: Switchfoot – Vice Verses

Artist: Switchfoot
Album: Vice Verses
Genre: Rock
Label: Atlantic Records/lowercase people records

I thought this crowd sounded familiar, and research informed me that some of their songs appeared on the soundtrack to A Walk to Remember. Not necessarily something to celebrate (I always felt cheated at the fact they never showed Mandy Moore’s death scene) but a good springboard to a wider audience. They do deserve the recognition; Switchfoot aren’t half bad and this album is a fine addition to their back catalogue. It’s enjoyable and worthy and worth ten times a lot of the amateurish fare doing the rounds.

“Afterlife” sounds something like a wrestling theme song when it begins, a testament to its pulsating beat, which vibrates heavily with guitars and percussion. It’s a stirring opener, making a kind of steely declaration in terms of the rest of the record. There are pounding, fiery verses, and the chorus adds extra harmonies and backing vocals for added impact. “The Original” keeps things consistent and compelling, with a little bit of eccentricity and invention in the vocals and a kooky bass line. There’s a subtle build up to the chorus, which then erupts in a lively and engaging chant. “The War Inside” has a graver feel, opening more seriously than the first two tracks. The sound is restrained and the backing instruments a touch distorted, as if holding back before the charge in what makes for a very momentous and dynamic introduction. The song makes a more thorough statement in its chorus, with grim vocals and, later, a poignant and conscientious harmony. It’s surprisingly catchy given it’s rather laid-back in pace, with a rich classic sound.

This heady triumvirate open the album in style, and they rarely waver thereafter. There’s a few slower numbers, distilling the pace somewhat, but that aside the album is confident and surges forward with panache and aplomb.

The fourth track, “Restless,” is the first to take things down a notch, coming over all pensive. There’s a good drum beat giving it that added touch of gravitas, barely-there guitars, and meandering, wistful vocals. The lyrics are all heart and emotion, a nice glimpse of sensitivity after the boldness of the opening tracks, although it does become a touch cheesy towards the end. “Blinding Light” moves up the gears again, a slightly jazzy number with a luscious bass line. It’s a bit deceptive, shapeshifting from a smooth verse into a more intimate chorus. “Selling the News” is also good, slick and sure of itself, with a forthright and engaging beat that opens well and continues building throughout. In keeping with its lyrical content, it has some good vocal mixes adding depth and a slight sense of unease to the song, although Jon Foreman’s lead vocal itself is brashly confident.

Thereafter, there’s another slower affair, “Thrive,” a genuinely quite thoughtful and reflective song set to a sombre guitar and only an occasional sweep of anything else. It’s lengthy and atmospheric and an excellent lesson in the minimalist approach. “Dark Horses” then recharges things using an exhilarating opening guitar to lead into an electrifying singalong chorus. The sound on this is big enough to absorb and endure, sweeping you up and keeping you moving in what may possibly be the album’s most appealing song (it has more than a touch of Lenny Kravitz to its riffs but that isn’t doing it any harm).

“Souvenirs” scales back the energy and aggression, before “Rise Above It” revs thing up again with an insistent sound that remains forceful and compelling throughout without ever really exploding. The final two tracks are a double whammy of brilliance. “Vice Verse” is ambient and moody, an exploratory track that uses an acoustic guitar to craft a curious and tender atmosphere. The drums rumble ominously in the background, almost like a haunting reminder of reality in the midst of this detached swirl. The song lilts along unobtrusively and leaves barely a mark, yet manages to be thoroughly thought-provoking while it lasts. “Where I Belong” flourishes in its final minute when the percussion creates a really intensive, rousing singalong, a fittingly ripe and engaging conclusion to an excellent record.

I rather like the simple consistency of this record. There’s no bullshitting and no attempts to be something more profound or important than it actually is. It’s sure and certain, a nicely executed straight up rock record. One for the purists as well as the newcomers, with very little to fault throughout.

SCORE: 9/10
Review written by Grace Duffy

James Shotwell
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