Excitement has long plagued Inhaler fans who may finally listen to the band’s third studio album: “Open Wide.”
The first song on the record titled “Eddie In The Darkness” kickstarts with a relaxed drumming, a tranquil piano and an echo from vocalist Elijah Hewson in a heavy, The Killers fashion. First impressions matter, and this song sparks the listener’s curiosity to keep listening after introducing influences of indie sleaze rock.
“Billy (Yeah Yeah Yeah)” is next with an amusing electro-pop riff beginning the song. The track is very different from their previous records, which had more of a rock feeling to it. Their new pop sound can be attributed to producer Kid Harpoon, who has worked with artists like Harry Styles and Florence + The Machine.
A raw rumbling beat thunders through the speakers as “Your House” commences. The single features a gospel choir in the backing vocals, paired with Hewson’s Jeff Buckley-esque vocals that enchant the listener.
Josh Jenkinson’s beefy guitar sound introduces “A Question Of You,” in which an old microphone effect modulates Hewson’s vocals. The drummer, Ryan McMahon, carries a monotonous and uninteresting beat throughout, and backing vocals that sound distant end the song in a dull way. There are many Kings Of Leon influences in this record, yet there are no songs that would be considered catchy whatsoever.
The next tracks “Even Though” and “Again” surprise the listener with a sudden genre change, as the Dubliners went from rock bangers to relaxing pop tunes worthy of being used for a study session. It is not a boring album per se, as fans of Blossoms will thoroughly enjoy it, but the listener would not belt the lyrics on karaoke night.
“Open Wide,” the title track, has a muted cymbal beat and a Robert Keating’s bass riff starting the song. One cannot help but hear Hewson’s father Bono slightly in his son’s vocals. The song is more enthusiastic than the other songs of this album, but to consider it a single is a stretch.
Opposite to the last song, “All I Got Is You,” should have been in consideration to be released as a single. The 80s influences are present with the reverb, a fast beat and Hewson’s soft vocals. This is possibly the best track of the album with it being fast, danceable and the potential to sound great live.
“Still Young” sounds like going on a road trip through the countryside and seeing cows through the window. It is a very pretty song, but the listener will forget about it instantly after listening.
“The Charms” is an indie anthem in a 2010’s-rock way that would sound great live. Although Hewson’s voice has gotten better with every album, one does not see much inflection in his singing, performing pretty much the same in every song.
“X-Ray” and “Concrete” give the same dozing-off feeling, making the listener stare at the distance and forget about the sound losing themselves in their thoughts. The album sounds like The Killers on painkillers.
The old sound of the Irish band came back with “Little Things.” The last song of the album features a beefy riff from Jenkinson, McMahon crashing those cymbals like there is no tomorrow and a whooshing that proves once again their huge indie sleaze influences.
Instrument-wise, the band has gotten better with every album, yet the overall feel is calm, enjoyable and frankly forgettable. Upon the first listen, it is a good album to play in the background, but one would have to listen multiple times to remember a single melody.
English
Spanish