Album review: Neon Trees 'Habits'

With ‘Animal’ being a horrendously catchy track possessing a series of hand claps and a chorus that circulates in your head for hours upon end, hopes for Neon Trees’ debut release Habits were reasonably high. However, remember that band Orson from the mid noughties that had one half-decent song? Well, Neon Trees appear to be rather like Orson’s younger, slightly edgier sibling; minus the ridiculous hats and with a few more brazen guitar riffs thrown in for good measure.

From the off, it becomes seemingly obvious that this quartet are fans of both the heavier rock and more commercially-friendly indie-pop sounds. Instead of settling on just one for their own material, they have tried to encompass both but at no point does this really translate into a wholly smooth fusion of the two genres. ‘Love and Affection’ presents us with a taste of guttural, fervent vocals diligently laid against a more inoffensive pop-based guitar and drum permeated melody. Although kicking off with a determined riff and steady drum beat, the fiery direction it initially procures steadily veers off into streaks of diluted pop-rock. This is a pattern that occurs through the majority of the first half of the record including during the hideously lyrically contrived ‘1983’ and creates the impression that Neon Trees have nothing to present that we haven’t all heard before.

If you can push through this sense of familiarity however, the latter portion of the album indicates that this Utah-based band might, surprisingly, actually be able to offer us something more. ‘In The Next Room’ opens with retro-inspired finger clicks and a silky piano accompaniment that almost makes you feel as if you’re listening to a different artist and era altogether. Lead singer Tyler Glenn’s raspy vocals transform into a smoother croon, and this change is a refreshing turnaround when all hope was rather thought to be lost. Granted, the ubiquitous guitar riffs make a reappearance later in the song but at least we now know there’s variety in Neon Trees’ repertoire. ‘Helpless’ possesses a faster synth-tinted tempo bringing them more in line with their contemporary peers, and ‘Farther Down’ finally demonstrates an ability to write meaningful lyrics whilst rousing harmonies, a slower pace and powerful crescendos all show a deeper side to a band which ultimately does them credit.

So, whilst the outskirts may appear to be familiar and prosaic, it transpires that what lies in the centre of the forest is occasionally worth venturing in deeper for after all. If the band themselves can explore this heart further and be unafraid to detour from the well-trodden pop-punk path, then Neon Trees’ successive release may just be worth considering saving from an automatic trip to the chipper.

This review was originally published on www.culturedeluxe.com