Amusement parks have got to be one of the most crowded places on the planet. Seriously, we’re all dying to fork over a paycheck to stand in four-hour lines. And for what? Roller coasters. We love them, for a number of reasons: adrenaline, speed, stimulation, risk, energy, power, and, most importantly, a break in the mundane, the trivial, the daily. Australia’s The on Fires provide a similar package with their full-length Betrayer, replete with 15 songs that truthfully embody the old cliché in music reviews: no two songs sound alike. You’ll be riveted to your seat throughout the ride.
The on Fires are a rock band. But they’re also an electronic rock band. And an indie rock band. And a punk rock band. And a trance-jam band. It’s all here on Betrayer. This group knows how to appeal to modern audiences who thrive on variety and genre-bending, as well as versatility within individual songs. They are clearly well on their way to harnessing an original rather than merely easily popularized sound, even if they still have a few small steps to go. Tracks on Betrayer are long but diverse and with an interesting structure. Each track’s road map has obviously been carefully crafted. While the group could improve their already excellent songwriting even further by choosing a strength and sticking to it, such variety on one record does provide an interesting listen.
Faster songs are characterized by shouted group choruses, catchy, aggressive riffs, and dynamic vocals. An excellent example of this style is the first track, “Coming Home,” which is one of the album’s highlights. The roadmap, riddled with rises and falls, is vividly reminiscent of Six Flags’ Goliath. This is a real rock song ala AC/DC, with group shouts invoking oi punk.
The third track, “Precious Injury,” is notable in its introduction of electronic elements, taking on an industrial/club edge and reminding the listener slightly of new era AFI or Blaqk Audio. “Melancholy” and its instrumental introduction are slow and trancelike. Piano and guitar wail, overlaid by sad and plaintive lyrics. As with many tracks on Betrayer, reverb is so thick that guitars, drums and vocals are often wet to the point of dripping. The listener is taken in an entirely new direction with the sixth track “Without,” a mid-tempo psychedelic jam. Heavy reverb, especially on the drums, bogs the music down slightly, as does repetition, but this track does add the The on Fires impressive range in genre.
Another highlight is “Open Arms.” Female vocals are tough while incorporating pretty harmonies. The shouted call and response chorus is playfully reminiscent of Green Day. The track is punky while maintaining classic elements of rock and roll.
Betraryer also boasts several indie rock tracks. “Sorry Now” and “Skeleton” are cute and pleasant, reminiscent of Arctic Monkeys or Cut Off Your Hands. However these songs incorporate synth and heavy production, which is prevalent throughout the album. Such production seems unnecessary given the already hooky, skillful songwriting. Tricks like these blur the band’s energy and passion, and the listener, while trying to focus on a solid guitar riff or clever melody, may be easily distracted by layers of affects. Similarly, “Nobody Wants” shows potential for gripping energy, but a marsh of synth and effects strip it of some of its rawness.
“Island” is an especially interesting track, beginning with a punky, spoken rant. Vocal delivery here is similar to indie rock darlings Dismemberment Plan, adding further diversity to the repertoire of The on Fires. However, a clappy chorus detracts from the song’s original lure.
Another highlight off Betrayer is the twelfth track “Hotel Room.” Clever lyrics about an affair are delivered through pretty male and female vocal harmonies. “Hotel Room” is catchy to the point of being contagious. There’s nothing wildly new going on here, but this is bound to be one of the most fun pop rock songs of the summer.
The title track is a relative disappointment compared to the songwriting prowess displayed by The on Fires on other songs. “Betrayer” is a dirge-like ballad, slow with excessive effects. Seemingly plucked from a rock opera, this closing track diverges from the honest and fun-loving tone of most of the album.
The more exciting and original tracks on Betrayer are the faster ones and those that fall within the realm of indie rock. The on Fires have a remarkable skill when it comes to writing hooky vocal and instrumental parts. However it is difficult to determine where this band’s heart lies: with the electronic beats, trance-jams, indie rock jingles, or the punky ballads. While the diversity that this band harnesses can be of great benefit, more work in the areas that interest them the most will lead these musicians to harnessing a more original sound. Similarly, while The on Fires are undoubtedly passionate, lesser production may contribute to this album and help the band explore their musical expertise. As the band grows and develops, listeners can most likely expect future releases to rely more heavily on creativity and songwriting talent than reverb and production.
Perhaps it would primarily behoove this group to step away from the safe zones of the genres they explore: trying something new and different with the synth, avoiding tried and true rock riffs, and shrugging the mask of heavy production. No matter which strength they choose to hone, there is no doubt that The on Fires will continue to provide listeners with the ride of their lives.
Review by Kendra Atleework
