by Mal Keenan | Mar 1, 2022 | MUSIC NEWS, NEW MUSIC
The band have had a run of single releases including Communication, Hush, and Side by Side on the run up to their album, ‘Nothing’s On But Everyone’s Watching‘, produced under the Allotment label and released on 25th February 2022. In the band’s own words, it’s “A record that encourages humanity to stare beyond the screen and see the bigger picture”. We’ve been asked to give a write-up of the album. Check it out below:
We’re introduced to the most recent single release from the band from the off, ‘Side Effects‘. What greets us is a grungy guitar sound, which certainly leaves an impression and sticks around, making appearances throughout whether it be to break up the song from the toned-down verses or to add a harmonising backing to the well-vocals provided by frontman Will Irvine who traverses the song giving a confident vocal performance full of angst and prowess without needing to shout out the lyrics. The message is clear about the modern era’s addiction to their mobile screen and the dangers of losing touch with reality and friends. A worthy message and portrayed in such a way that it’s entertaining as well.
Little Victories follows on with a punk rock-esque intro with upbeat drums and great-sounding guitar. Will Irving showcases more of his confident vocals throughout the verse leading up to the chorus. There he turns it up a notch singing what comes across as a catchy, up-tempo chorus bound to have anyone bopping to at any gig. The meaning of the song is anything but up-tempo with frontman talking about a past relationship that didn’t quite work out the way he thought it would and the “sting”, the painful aftermath. The relatively short, seemingly happy, and up-beat track however manages to fall into that category of deceivingly joyful. Overall, it’s a powerhouse of an indie rock song and leaves you wanting more.
As we progress through the album, ‘Hush‘, makes an appearance, a track that kind of sneaks up on you, fading into a synth-pop sound with unique sounding guitars. The chorus doesn’t relent with the pop/rock sound and gives us the really catchy lyrics “you only love me on the weekend” a quote taken from a documentary, which spoke out to singer/songwriter Will Irving. The track comes fun sounding upbeat power pop/rock track, which sounds fresh and exciting with yet another deeper undertone, which begs for repeat listens to gauge the full message. Digital Light follows with a return of the grungy rock sound which we were introduced to from the band at the start. Will Irving brings to the song a rough gravelly range to his vocals which just go to show his diversity. That deeper undertone is evident throughout this one but more obvious with its brooding grunge guitar breaks and vocals. Will here was inspired again here by the distance between us all even though we are all as connected as ever, separated by the small screen in front of it. The angst floods through his vocals and you can feel every word backed up by the powerful guitar, bass, and drums.
Communication is next and is also the solution. The solution to all the warnings and problems faced in the songs that came before. “The collective state of mental health is really delicate around the world and sometimes all it takes to make someone feel valued is to reach out to them” Will explains. He wants what we all do, genuine connections made in person. The short track comes as a sort of breath of fresh air from the stifled feeling given off by the past songs. Then comes Zombie. We’ve all been there, suppressing emotions and zoning out relying on technology to get you by. This tracks all about that. This track, full of angst and even grungier guitar cries out in frustration because of all of this. The fresh mix of sounds during the chorus gives me genuine chills, from it’s clean-cut guitar lead over the grungy rhythm. Will’s vocals, with a Scottish twang, shout out over all of this adding gravitas to every word and driving home the angst. Overall, a highlight from the album, one which leaves an impact as I push on through to the next track….
Learning to Talk takes it down a notch proving a sort of respite to the up-tempo whirlwind of power rock/pop tracks. Will’s confident vocals takes us through the song never overreaching but managing to showcase his prowess enough to impress. A simplistic beat and synth are the only things used to back the vocals giving the song a stripped back feel. The song does however build gradually throughout. By the mid-point we get more intensity with the inclusion of a guitar sound that brings on a feeling of very mild anxiety, which goes hand in hand with the track’s message, “When you have a friend who you know is struggling it’s also hard to stand by and watch them try to deal with it”. With a cut very sudden cut off and sharp raw indie staccato intro, which definitely reminds me of Arctic Monkeys at their peak, we are greeted with Ugly. Irving comes into his own here throughout the verses incorporating a powerful attitude-laden performance. This up-tempo powerhouse of an indie hit powers on through until we come across a break… The track then explodes in with the chorus with a uber-catchy chorus. The angst which is all through this track comes from Irving’s own experience of “Finding an escape from the social onslaught that is constantly telling you you’re not good enough”. Hitting all the topics that need to be addressed in all of the songs here. Not only does he touch upon them he makes it entertaining too. Bonus! Ugly is that one song that gets even the reluctant dancer bouncing at any live gig. Amazing.
Following on from the grunge/raw indie rock that Ugly provided we move onto a fresh sounding indie pop track ‘Side by Side‘. From its clean proficient lead guitar and unique and powerful sounding. Being experienced music makers, Daytime TV know how to structure a song for maximum impact and that is what they are doing here. The guitar throughout goes to strengthen that skeleton of a song with a great sounding lead, synth, and rhythm combo which raises the hairs on my neck with its euphoric indie/pop sound. The raw emotions are clear regardless of how fresh it sounds however, with lyrics like “Maybe we should just let go” which, in Irving’s own words, “is that gut wrenching feeling of “maybe this has run its course” even if that’s the last thing you want to come to terms with”
‘Dirty Love‘ follows off the back of Side by Side taking things down a gear with a slow-build intro all about new love and that someone you fancy, Irving recounts. With a steady beat, Irving takes us through passionate and raw lyrics with vocals to match. With its slow build up, reflecting in some ways the build-up of emotions and letting them out, the song comes to a climax and trails off. A great song overall and leaves you wanting more. ‘We Can’t be Friends‘, brings back the grunge raw rock that interspaces the album. The song cries out the pain from that encounter with a potential lover, but they messed you about. Another angst-fuelled muse, which Irvine has yet again made into an enjoyable indie/grunge-rock belter. To use negatives and turn them into positives and not letting them overburden you is some talent and one which Irving has mastered throughout this album here. The latter part of the song introduces some diversity to the make-up of the song which interested me and took me by surprise. Nicely played.
Last but not least, ‘Satellites‘ is a track that serves as a finale of sorts for the album. Irving’s vocals take us through the intro sounding so distant itself like Satellites with gentle piano accompaniment. A genius effect that gives the song a unique feel. Gentle lead plays through the song alongside the gentle piano giving off waves of much needed tranquillity after all of the angst, passion, and emotion that came before. A fitting end to the album, not going off on a high note, but a note which reverberates non-the-less leaving you with a pat on the head and a nod.
Overall, the album is a rollercoaster of emotions, styles, and pacing all fused together in seemingly happy and joyful indie/pop/rock tracks with serious undertones crying tales of isolation, bitterness, and regret. I did pick up on some slight likeness to bands such as Vistas or The Pale White with their regional accent lilts and with the same indie/pop sounds, but ultimately, what makes Daytime TV stand apart from the rest is raw emotion and using life experiences as a muse to create something that resonates within every one of us though well-played and structured indie rock/pop hits worthy of the top of the charts.
Review By: Mal Keenan
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