Album Review: The Boxer Rebellion - Promises
- Written by Rob Crozier
The Boxer Rebellion’s Promises is the band's fourth studio album. This is an international four piece that has formed a formidable indie rock outfit. They've been labelled as Oasis meets Radiohead via Coldplay. Indeed, these are huge claims to aspire to and we're sure the band would dismiss them, because this album sees them attempt to carve out their own style and sound.
The comparisons, however, are evident within this new album, but the band have the misfortune of arriving on the indie scene 10 years too late, albeit they deliver an international indie sound that's worthy of greater exposure than what they currently receive. Had this album been made at the same time as their antecedents, their popularity would have skyrocketed. However Promises could go some way to changing that.
The level of the band’s ability has stayed constant throughout their musical career; always riddled with long sweeping peaks and valleys of sound; all packed tightly together - not declining in any way - but not really growing out of it either.
The album begins with the track 'Diamonds' which is also the band's lead single. It's abound in swirling synthesisers which meet Radiohead's melodic style. The lead track has already received great acclaim. The tracks utilise Todd Howe's (lead guitar) skills as the album starts with a bang. It's followed by the second track 'Fragile' which sees Nathan Nicholson's vocals at their warbling best as he leads us along a track with swirling psychedelic distortion backed by a superb tempo produced by the band.
The album continues with 'Always' as it picks up the pace slightly while Nicholson's melancholy vocals are underpinned by the band's ability to produce straight up indie rock. After these initial opening tracks the album begins to decrease in pace and transforms into a slower sounding collection. It's a sound that's extremely refreshing, at first. However, as the album progresses - and after repeated listens - the initial sheen begins to diminish from some of the songs.
'Keep Moving' offers a more stripped down sound that produces a simple yet very effective track with vocals taking centre stage. This illustrates the band's core sound and it’s triumphant. This is followed by 'Safe House' and confirms that, after the albums initial upbeat buoyancy, the last few tracks contain a more placid, contemplative vision and range of melodies.
Elements of this album run the risk of mistaking tracks like 'Keep Moving', 'Safe House' and 'New York' for Coldplay numbers. This is in no way meant as a criticism but more a of display of the affable, radio friendly power the album contains with soaring vocals and an elaborate orchestral arrangements. However, while there are many records that could be described as ‘growers’ or ‘slow burners’ Promises' initial force actually begins to fade With each listen. Tracks like 'Low' and 'You Belong to Me' start to blend together into one continuous musical collection.
Promises is indeed a refreshing record yet may have been created a decade too late. The band may continue to produce records of this quality, it’s just a shame that their audience have probably already moved on.
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