Lostprophets are back – and their music style couldn’t have been better for their January 2010 release, The Betrayed. It’s their first album in nearly 4 years since their widely popular (at least in the UK) Liberation Transmission which featured the hit single “Rooftops.”
Many people might not remember the band itself, but I’m sure many people would remember their hit from 2004, “Last Train Home.” The album, Start Something, reached 33 on the US Billboard Top 200 and helped garner Lostprophets their mainstream status. Their previously mentioned follow up also reached that status when it was released 2 years later in 2006.
After a successful run with their previous 2 albums, Lostprophets began their trek on a new album that was to follow up Liberation Transmission. However, that trek was abruptly grinded to a halt due to label and producing problems behind the scenes. Originally intended to be more cynical and darker, much like their 2000 debut release TheFakeSoundofProgress, the idea was scrapped for more of a theme that draws upon the band’s previous 3 albums.
From a personal fan of the band, let me say that they captured the sound of the last 3 albums perfectly. The beginning drum cadence hits you from out of nowhere for the opening song to the album. The song, titled “If It wasn’t for Hate, We’d be Dead by Now” starts off slow, but then singer Ian Watkins takes over with strong emotion and a vibe that the beginning has just begun. The song itself only lasts 2:19 but it gives a clear message that this album is “… Killing everything you know.”
The beginning two songs seem to resemble their tenuous battle with their former record label and their battle to release this album. Of course, never being ones to skip on Politics and religion, Lostprophets brings the noise more with a hard hitting song two titled “Dstryr, Dstryr.” (Pronounced, obviously, Destroyer.) The theme repeated during the bridge of the song, “We Live Inside of You,” is a testament to the fans of the band and this writer feels like it’s a personal statement. While the song resembles one of rising above wreckage and turmoil, they bring a fast paced song that delivers on almost all accounts.
The only thing possibly lacking from the delivery of the first two songs would be the fresh vibe that made them famous. While they are similar to the songs released on TheFakeSoundofProgress, the songs have subtle hints of their much later albums without the harmony and wonderfully well written lyrics they’ve been known for for almost a decade now.
The songs continue to blend together, leading from the previous song straight into a new one – something Lostprophets has been known to do, but not on a wide scale album like this, and it leads us to their first single off the album, “It’s not the End of the World, But I Can See it from Here.”
The song starts out with a very simple drum cadence and guitar riff, but it’s a strong note to start on. The lyrics start off very slow and it kind of betrays you thinking that even though the intro was strong, this song might not be. The chorus delivers on a certain level that only the lyrics can relay themselves: “It’s not the end of the world, now baby. So come on dry those tears. It’s not the end of the world, now darling – But I can see it from here!” The war chant heard in the background gives this song a much more uplifting feel than it would have normally have felt on a regular basis. The song leaves out on the war chant and slowly dissolves into a slow medley of music that leads into the first “ballad” of the album and second single, “Where We Belong.”
Fans who are familiar with their first album and loved harder ballads like “4 A.M. Forever” and “Always All Ways…” would be very satisfied with this song. The song gives a lot of hope and a very uplifting message, while not indifferent from their past ones, it still makes an impression. The smooth combinations of a mellow guitar/drum combination during the verses helps deliver a smooth tone throughout. It’s simple, but poetic. “Hold on, hold on. Where we belong. My Heart, my soul – We still belong.”
The song ends abruptly and the immediate scream from Watkins is heard again for a faster, very hard hitting song, “Next Stop Atro City.” While not one of my favorites on the album, it provides a very ample beat to help anyone who’s feeling like a quick, upbeat and ruckus sound to get in the mood to rock out a little more.
Once again ending abruptly and without a lead in, the album moves forward its sixth song and third single on the album, “For He’s a Jolly Good Felon.”It’s a very catchy tune, and while my descriptions can’t do it justice, the music video for the song actually captures everything the song talks about. I would highly recommend YouTubing the band’s page and taking a peep for yourself. It’s a song that I find myself getting into again and again without knowing it, so fans of the band should enjoy it too.
The song ends with a weird techno mix that will lead into the seventh song, “AC Ricochet.” When I listen to this song, I get little tidbits of hate and angst. This song, in my humble opinion, would have had no problem making it through to the original cut of the album that they wanted darker. “In time I would like to say I’d get over the hate, but don’t hold your breath..” The lyrics lead into something darker than I’ve typically heard from any of their albums. The song is very thorough and you find yourself getting into it before you know what’s hit you. So what do you say? Pull the trigger, walk away!
The next few songs are quite possibly my favorite on the album, and if not some of my top 2 songs from the band period. “A Better Nothing” starts out with piano and simple symbols with a hum in the background. When the guitar kicks in, it’s a tune that I’ve found myself whistling after only listening to part of the song. When looking for songs to love, I find myself personally looking for songs that I feel resemble me. This is one of those songs.
The lyrics “I’ve left a love I can’t replace to find home. And every time I’m left with nothing. But nothing’s all I need to find home. Another time there’s always something. But never inside me… So how’s it gonna feel when I leave this town?…” make this song even more impactful and the catchy music even behind the chorus makes it even better. The only drawback I have with the song is the very end. Instead of repeating “How’s it gonna feel,” several times until right at the end, I felt that another shot at the chorus and that wonderful instrumental section would be a more perfect ending – leading to the original ending, the guitar leading out with that wonderful tune I love to whistle.
“Streets of Nowhere” is definitely feels like a British song, and that’s not a bad thing. It would definitely feel like a song the country would sing during the World Cup, or even during a rival football match. (Soccer for the Indy folks.) It’s very upbeat and has wonderful rhythm to it. It’s also something I find myself smiling about it because my own Streets of Nowhere may not be much, but I still gotta love it. And as the band so puts it during the bridge, “Everything will be okay.”
Song ten on the album, “Dirty Little Heart,” definitely resembles something that I would hear towards the end of Liberation Transmission. It’s a softer, more somber tune with a simple beat but wonderful approach. It’s another little “ballad” from the band. It’s filled with a smooth, but distorted guitar riff lead by Guitarists Lee Gaze and Mike Lewis. The harmony provided in parts of the song fits the song very well and doesn’t detach from the message. The end of the song delivers a piano and what feels like a synth sound that could possibly lead into a darker song.
“Sunshine,” while different is only a little dark. The opening lines, “Where the sun don’t shine, you’ll find me doing fine. Where the sun don’t shine,” while delivered slow, is a façade. The song picks up immediately. The song, being about betrayal, would seem like the perfect inspiration for the album’s title, The Betrayed. “All the time I gave, was just enough for you to put my heart in its grave.” The song is very fast paced and a wonderful beginning to the end of the album.
The twelfth song is quite possibly my favorite from the band in their 12 years. I find myself hitting rewind several times in the car when I listen to “Darkest Blue.” The tune is very upbeat from the beginning, but the verses are lead in very slow once the music calms a little. While having a relatively fast pace, “Darkest Blue” seems to be a song about falling into depression. “Everywhere that I go, misery will follow and it won’t let me go. I keep fading into you, drowning in your darkest blue. The sorrow pulls me down. I’m weightless without a sound. I still hear them calling.”
Even with the depression undertone, it’s such an amazing song. The harmony, synth, and all instruments come together wonderfully to provide a song that rich with wonderful lyrics and an amazing sound. If you listen to one song, I would highly suggest this one. It’s a wonderful piece and incorporates every reason why I fell in love with the band almost a decade ago.
The final song on the album, “The Light that Burns Twice as Bright,” is a very slow and somber song. It’s fitting they would put this song as their closer, since the last two albums have had relatively slower songs as their finales. While Liberation Transmission’s song was a little more upbeat and about continuous love, this song channels everything that made their debut album a wonderful commodity. It is definitely mostly a synthesized and turn table song, but that’s the original sound the band debuted with.
While the song itself is only a little over 5 minutes long, the hidden track, which you have to skip over some 10 plus minutes of nothingness, is a wonderful instrumental medley that is warm and adds a nice welcomed, but different, touch to the end of the album.
That, in a nutshell, is my review and opinion of The Betrayed. The whole album does not disappoint and is very reminiscent of the days of old from the band. The current incarnation of the band, Ian Watkins – vocals, Lee Gaze – lead guitar, Mike Lewis – rhythm guitar, Stuart Richardson – bass, Jamie Oliver – synth, turntables, samples, backing vocals, Luke Johnson – drums, percussion, make the album as enjoyable and noteworthy as their previous albums.
While it’s a solid record in sales across the pond, Lostprophets have lost some of their mainstream audience due to a delay in releases. That doesn’t stop them, and it shouldn’t stop you from going out and buying the album.
Check out the band’s website at http://www.lostprophets.com and see what the current news is. This writer is hoping for some kind of US tour in the near future!
