Nashville quartet Daisyhead have had a troublesome couple of years since the release of their debut album ‘The Smallest Light’ in 2015, including a seemingly almost inevitable break-up. Despite this, the band have managed to pull themselves back together from the brink of self-destruction and release an album in 2017 that sounds like it was made for 2007, ‘In Case You Missed It’.
Opener ‘Hold The Door’ is a largely instrumental opener that creates an emotive atmosphere that is delivered throughout the entire record, and the swelling outro wouldn’t feel too out of place on a Moose Blood record. What’s odd is that it feels like a closing track, and ironically the actual album closer ‘Opryland Lights’ feels like an ideal opener. This doesn’t realistically have an impact on the record, but no doubt it would’ve sounded better with the switch being made.
Lead singer Michael Roe has a voice that will resonate with the everyday wannabe musician; it’s far from perfect and at points he’s out of tune, but the passion is undeniable and ultimately it doesn’t detract from the record. This is most apparent on ‘Never Know’, the stand out and by far the best track on the record. Lyrically it’s full of self loathing and despair, such as “You’re tough and I’m not getting through”, and musically it strikes just the right balance of melodic and aggressive.
Ironically, the first released track ‘Don’t Feel Bad’ is probably the weakest track on the record, but don’t for a second think that makes it a bad song. It’s the heaviest and fastest song on the entire offering, and a bit of variation is always welcome. However, the band’s brightest moments are in their more heartfelt and emotive tracks.
2017 has shown us that dying genres are in the habit of making a comeback, with the likes of Creeper releasing their absolute monster of a debut ‘Eternity, In Your Arms’ that catapulted goth punk back into the limelight. So, if like me the emo scene of the mid-00s was your Shangri-La, then ‘In Case You Missed It’ would fit into your collection of records without hesitation. It’s a full on throwback to the days where listening to Hawthorne Heights and Secondhand Serenade was an every day occurrence and trying to fit in with society seemed like an endless task. Even if that wasn’t your thing, this record treads the line of current and dated very carefully, and succeeds at giving vibrancy to a genre that has been heavily diluted in the past.
Written by Jacob Eynon (@itsjustjake93)
Founder & Editor for DEAD PRESS! | Atheist and antitheist. | Judge of the quick & the dead since 1989. | Aspiring freelance pizza eater.