On March 2, rock band Lifehouse dropped their fifth release, Smoke & Mirrors. A highly anticipated album, the project offers a filling playlist of polished alt-pop and post grunge.
The beginning of the album kicks off with ‘All In,’ an upbeat track cooked to radio formula perfection. Many of the other songs hinge on similar verse/ building pre-chorus/ catchy chorus structures that hurts and helps the band at the same time.
Of course, there’s the inevitable lack of diversity, but thing about radio pop is most people enjoy it, and Lifehouse still keeps their own flavor, much thanks to lead singer Jason Wade.
Wade’s smoky voice certainly gives the band its distinct sound, and the musicians seem to understand the importance of enhancing it. The overall effect of each song is a flowing dance between the vocals and the instruments. Although each member plays a unique, diverse pattern of notes, each part works together in such a way to create a sound that is solid but far from simplistic.
That said, Lifehouse still fights to keep its head above the dangers of conforming to the pop formula too closely. The ‘feat. Chris Daughtry‘ label of ‘Had Enough’ simply screams, “I am for radio!” Following hard after are the numbers ‘Halfway Gone’ and ‘It Is What It Is’ that continue the hook-filled, catchy-chorus pattern.
Wade uses his vocals to play with the rhythms of the guitar riffs in ‘Halfway Gone,’ and whoa-ohs add to the single’s fun sound. The piano-driven beat of ‘It Is What It Is’ diverts to a mellow, flowing tone, and though it helps change the album’s pace, it is still full of hooks.
‘Nerve Damage’ helps break up any sort of repetitive formula by utilizing dynamics in rhythm and sound. The verses use a soft guitar riff that builds up to a grungy chorus of crunchy guitars as Wade growls, “Meltdown’s looking for a new clown/ Living in a world that’s make believe/ Used up burned out always got a hand out.”
And then, suddenly, the tempo increases to an energetic instrumental bridge that seems to appear out of nowhere. Almost as suddenly as it came, the busy tempo leaves and in comes a relaxed guitar solo until Wade begins to sing again.
‘From Where You Are’ brings a fresh touch by staying away from the feel-good beats and working a stripped-down set of acoustic guitar and keys. Wade croons a sweet love ballad, making the song a sure favorite.
Other tracks with a different vibe include ‘Here Tomorrow Gone Today’ and ‘Smoke & Mirrors.’ The title track features a country-esque feel and slowly grows on the listener with another hook-filled chorus of a fun drum pattern.
I advise to spend the extra few dollars on the deluxe edition, because otherwise the album will end blandly with ‘By Your Side’ and ‘In Your Skin.’ Neither of the songs are bad, per se, but both have an anti-climatic chorus and mundane lyrics.
In comparison, the deluxe edition adds four gems that give the album a more well-rounded feeling and better sense of closure. The bonuses include a live studio version of the hit ‘Everything,’ from previous album No Name Face, and ‘Crash and Burn,’ which hits a sweet spot with its soft edge and swelling, emotional chorus.
Despite its struggles to maintain an individual identity, the deluxe edition of Smoke & Mirrors delivers a nicely wrapped package of smoothed-out grunge postmarked for the radio stations.
For more information, check out Lifehouse’s Web site. For more music reviews, read the March 22 article, ‘The Pursuit’ merges musical styles.
