Priests To Pilots – ‘Everyday Is A Little Less Colourful’.
Priests To Pilots – London, England, United Kingdom.
Pop-Punk, the genre that won’t go away and a genre that even after uttering that sentence, I – like many hope that it never will – at least in some way, shape or form.
Enter the second EP from London based Pop-Punk founded, Alt. Rock edged and Emo tinged four-piece Priests To Pilots. Every Day Is A Little Less Colourful I have to say kept my attention well. Now, that may seem like a compliment or observation a little empty but within context, after reviewing an EP on the absolute other end of the Punk-rooted music spectrum, that is no small feat.
These days, Emo isn’t all fringes and grandiose representations of inner feelings so over the top that they haven’t actually returned to earth yet, because their own inner turmoil is making the same complaints about it’s own inner turmoil in a perpetual circle of eye-liner and MCR t-shirts. Rather the genre is taking cues from the crop of Emo bands that luckily didn’t get quite so lumped with such an interesting image.
‘Rosebud’ very much captures this Pop-Punk sound loaded with near-perfect Pop-tones and Emo-croons and well executed but admittedly minor Punk-isms. ‘Rosebud’ wastes absolutely no time in presenting itself as Pop-Rock banger and you can’t fault its addictive cohesion.
But is it all just that? The band employ a briefly Pop-Punk charge in the latter parts of ‘Rosebud’ that would be the rescuing factor in a lacking song but in this case, just makes a good one a better one.
The vintage New Found Glory-esque intro of ‘American Mouth’ edges closer and closer to dark tones and a charge of Pop-Skate-Punk unambiguously suited to Priests To Pilot,s as they segue from this to the aforementioned classic Pop-Punk both contrastingly and seamlessly. In fact, if the band’s darkly toned riffs and driven verses are something you cant seemingly get enough of then do indulge a band by the name of Havelocke, you won’t regret it – Click Here.
‘The Infinite Melancholy Of Mr. Happy’ is playful and sees the band at their most Pop-orientated thus far and in all honesty, also sees them at some of their best and most comfortable. The band impressively pull-off stylistic changes at the drop of a hat from tuneful Pop-Punk to fast relentless melodic Skate Punk, which is where the near-perfect instrumental ‘Hill Valley ’85’ comes in.
‘Wasteland’ follows such perfection with an intro not too far from the golden-days of Yellowcard before more of the tried and tested UK variant of the North American art follows. ‘Wasteland’ is solid, very much so but in this case of the band’s as-a-rule stellar contrasting elements, said changes do not live-up to themselves into a chorus a little far behind the well executed verses. However, the also tried and tested Pop-Punk variant of Alternative Rock with some help from quieter acoustic strings, plays out another solid track on a solid release by a solid band.
As it turns out, the acoustic forays were in preparation for the penultimate ‘Bones’ which again, pulls in tones of Yellowcard and other household names such as Jimmy Eat World and that, that’s just that.
‘Posterboy’ is to be blunt, short, vague and any other normally negatively associated buzzwords, is a Pop-Punk song and rather good one at that. ‘Posterboy’ takes everything good about the genres contemporary form and that of times distant but still stylistically alive and it works.
If there’s one thing we can take from this, it’s that making the stark career change from Priest to Pilot is seemingly an advantageous move and should well be recommended for all.
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