Artist: Daughtry
Album: Break the Spell
Genre: Rock
Label: RCA, 19

Following hot on the heels of my admission regarding Twilight, I also must confess I rather love American Idol. Yes, even though I’m in Ireland. There’s something so intoxicatingly melodramatic about it and, given my location, no media saturation to turn me off it. Chris Daughtry was one of the good ‘uns, and deserved to do a lot better than he did in Season 5. Then again, an early exit from talent contests such as this is more often than not a blessing in disguise. Daughtry are a rather fine band, not groundbreaking or anything, but enjoyable and capable of fashioning a fun, frolicking tune. Break The Spell is their third studio album and clear evidence of this ability – you’re rarely far from a huge juggernaut of a chorus, thickly woven into a tapestry of biting lyrics and crushing guitars. It’s kind of like Bon Jovi (an oft-cited influence) for beginners, topped off with Chris Daughtry’s powerful vocals.

The album sports a fairly lethal opener in “Renegade.” It’s dramatic and triumphant with a sharp, grinding, corrosive guitar sound and a typically brazen chorus. The song has themes of resurgence and victory running throughout, wearing its defiance on its sleeve. “Crawling Back to You” would at first appear to be a comedown after these excesses; it features an acoustic guitar and faraway keys. It brings down the tempo quite a bit, which is striking considering the bombast that informed the preceding track. That said, the chorus is, as usual, a very effective antidote – rushing and soaring with suitably invigorating results. Daughtry’s voice is a vivid centrepiece for these musical escapades – very earthy and sincere, with a lived-in air to them. He is, effectively, the male equivalent of those female power singers (i.e. every woman on American Idol and Christina Aguilera) who try to lift the roof off the joint, but unlike them he’s not at all grating to listen to. There’s a brief glimpse of a solo after one chorus which changes the song’s tone entirely, giving it a more victorious feel. It’s good and absorbing, in the grand tradition of sweeping rock ballads.

“Outta My Head” is also big and authoritative, very sure of itself, with a deliberate and aggressive sound yet a clear sense of warmth at its heart. “Start of Something Good” is a little more heartfelt. There are more unplugged instruments and mellow strings added to emphasise this, but the vocals offset any sentimental gloss. The powerful and commanding singing that anchors the track allows it to explore its melancholic tendencies, whilst never forgoing a rushing, vociferous feel. There’s another earnest and robust vocal performance at the heart of “Crazy,” a hearty anthem that’s a bit more rhythmic. It’s more measured, but doesn’t really stray too much from the chart formula and remains accessible and undemanding.

The title track, “Break the Spell,” is rugged with some delightful little harmonies. The guitar work is underplayed at first and scores a deliriously intense declaration of feeling in the lyrics. It’s bolstered by a bigger, tougher chorus; one that hints at this ocean of feeling but anchors it to something sturdier to prevent any needless sentimentality. The song ably matches its excesses with more hushed moments, making for a likeable and engrossing track.

“We’re Not Gonna Fall” and “Gone Too Soon” don’t quite impress as much. The latter is very affecting, but they’re a little more formulaic and clichéd and feel somewhat below this album. “Losing My Mind” continues to explore the driven-mad-by-love motif that inspires a lot of the lyrical matter on the record. It’s still sweet and honourable but a little tired by the time this song rolls around. It is a competent and engaging track however, with a smoother, less potent sound in which you can easily lose yourself. It is, indeed, a little more likeable than the others at times cos it feels more natural, with less rigour and aggression in its music.

“Rescue Me” is also lovely. It’s gentle and unassuming with the same organic feel to it, and a resolute and stirring conviction in the vocals. “Louder Than Ever” is a bit more upbeat, foregoing introspection for a more celebratory ode to love. The lack of intimacy accordingly lends it a sunnier, fond character with the vividness of the memories to which he refers reflected in the perpetual eagerness and enthusiasm of the guitars. Its pacing is good, not too hurried, but sprightly enough to reflect the humour of the piece.

“Spaceship” wraps up the album with a warm and engaging, lyrically kooky song whose big choruses mask a lot of the vulnerable emotion at its core. Overall, it’s positive, enthusiastic, and leaves plenty of room for audience participation, meaning it’ll probably reach its full potential live.

Break the Spell is a finely made album, fierce, determined, and confident. Its insistence on being as big and bold as possible is admirable and all-encompassing and makes it very difficult not to like. It has a universal, mainstream appeal but delivers enough quality to retain its street cred.

SCORE: 8/10
Review written by Grace Duffy

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James Shotwell

James Shotwell is the founder of Under The Gun Review. He loves writing about music and movies almost as much as he loves his two fat cats. He's also the co-founder of Antique Records and the Marketing Coordinator for Haulix. You should probably follow him on Twitter.

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