One of the most anticipated local releases of the yearâ€¦
Even if you’ve never actually
listened to The Getaway Plan, there’s a good chance you would
have at least read about them in one of a dozen different music publications
in the last eighteen months. Before any of the members had even celebrated
their twenty first birthdays, TGP had a well received EP under
their belts, high rotation of said EP’s single on Triple J and they were hand picked to support a couple of bands called Taking
Back Sunday and The Used (you may have heard of them) on
their Australian tours.
Achieving so much in such a
short amount of time can do many things to a band. They could burn out
and crumble under the pressure, or they can flourish and prove that
their first round successes was only a glimpse of what the group is
capable of. So which is it for The Getaway Plan? Having
listened to Other Rooms, Other Voices repeatedly, I’m confident
that TGP have done enough to impress their existing fan base,
but is it enough to catapult them to the upper echelon of Australian
Lead track and the album’s
first single “Streetlight” is a fair indication of what a recording
venture in the US has done for The Getaway Plan’s sound. With
its slick pop sheen and guitar heavy choruses the song was an obvious
choice to release to radio, my only gripe being that at almost four
and a half minutes in length it probably drags a bit for your Joe Average Nova fan. Smart choice then to follow up with the about to be released
second single “Where The City Meets The Sea”. I’m sure anyone
who heard this song on the band’s 2007 appearance on MTV’sThe Lair will confirm that the melody has been stuck in their head
for the better part of six months, and the recorded version is just as
effective, with the production job courtesy of James Paul
Wisner complimenting the shimmering guitars and vocal melodies perfectly.
It’s here that we encounter
the record’s first hurdle, as “Sleep Spindles” is a somewhat mediocre
song compared to its predecessors, the reason being that when you’re
as vocally gifted as TGP front man Matthew you should refrain
from littering your songs with second rate screaming. Although the chorus
is catchy there’s nothing present in this tune to set it apart from
the 400 other groups having a crack at this genre. I can appreciate
that a full length album is a band’s chance to experiment but “New
Medicine” is another track that falls into the “not bad, but not
great” category. Sonically it sounds great, but as far as ballads go
it failed to hold my attention.
After that momentary lapse
“Shadows” comes along and reminds you exactly why this band has
achieved so much in their short career. The keyboard flourishes, the
driving guitars and Matthew’s anthem like vocals are practically
begging for one thousand crazed fans to sing a long in agreement at
the next TGP show.
starts well but it feels as though the song never really gets moving,
whereas “A Red Flag” capitalizes on its piano led intro and develops
into one of the most intriguing tracks on Other Rooms, Other Voices.
The layered vocals throughout the verses make way for one of the most
epic choruses an Australian band has committed to tape in recent memory.
The intro to “Rhapsody On A Windy Night” is a slightly darker track
compared to the rest of the record but there are too many lulls throughout
the song for it to really hit the listener, while album closer “Transmission”
is hinting at possible arena rock aspirations for the boys in TGP.
There’s no doubt that the
selected singles from Other Rooms, Other Voices are impressive,
but there’s still a few kinks that the band need to work out of their
song writing by the time album number two rolls around. Expect to hear
a lot from these guys in 2008.