After the success and touring cycle of a debut album, a band inevitably has to start grafting on the difficult and possibly career defining second album; a hurdle that many hyped bands fall at after taking their sweet time over. Mallory Knox impressively release their sophomore effort just 20 months after ‘Signals’ hit the shelves – an album that took no material from their previous EP and exceeded all expectations. The Cambridge band are using ‘Asymmetry’ to prove that they can write rock songs at the drop of a hat, and their hard work is paying off in style.
Despite the jump from A Wolf At Your Door Records up to big boys Epic, as well as teaming up with Gil Norton (Foo Fighters, Jimmy Eat World, Pixies), the production sound is a follow-on from the ‘Signals’, with the melodic rock fronted by Mikey Chapman‘s ability to find excitement in a relaxed tone when supported by backing vocals galore.
Lead single, ‘Ghost In The Mirror’ has all the catchiness and sing-alongs ideal for power rock radio and alerted fans to the fact they were back so quickly you hadn’t even noticed they’d gone, and that they were returning with the same goods that got them to their position in the first place.
Not just content with formidable choruses, Mallory Knox have always produced intuitive verses that break from the routine mould of your regular pop-rock band. ‘The Remedy’ sees Chapman‘s voice strengthen and layer with back-up vocals upon the second verse to add an extra intensity halfway through the song, allowing it to flow for longer without getting stuck in repetition.
However, ‘She Took Him To The Lake’ takes it to a new level, as the band attempt a 7 minute operatic masterpiece for the first time, and it’s as engaging and excellent as expected. An atmospheric start slowly builds energy and steam to a huge crescendo finish as all the pieces throughout the song are collected and put together for a maximum impact end.
‘Asymmetry’ keeps Mallory Knox solidly on the progression path that they needed, with a perfectly inept exciting second album. Already well into their second single with ‘Shout At The Moon’, the guys are clearly content on doing everything at full speed, but without sounding rushed or bombarding the country with too much all at once. Album tracks like ‘Getaway’ and ‘Fire’ show off the strength in depth on the record, instead of relying on radio releases or unnecessary acoustic ballads.
At this rate, we should expect album number three in Summer 2016 with the band bigger and better than ever, but still rocking the tight and exciting sound that they boast now.
Written by Michael Heath (@MikeBeef)