ALBUM REVIEW ~ 'DEAD CLUB CITY' ~ NOTHING BUT THIEVES

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Formed in 2012, Nothing but Thieves has been a consistent part of 2010s’ indie pop, a staple of the underground genre. Their latest release Dead Club City has been out since June, showcasing a fun mix of eccentric dance beats and quirky pop, a collection of songs to blast over the stereo on these hot and humid summer nights, many of which have already gained mass radio play in the U.K and on alternative radio stations across the globe. With the success of this fourth studio album, Nothing but Thieves will be hitting the road for a North American tour in the fall to properly introduce Dead Club City.

Without further introduction, the first track off the new album, “Welcome to the DCC” steps up to the plate with a synth-based sound and muted guitar intro, a discotheque single ready for the dance floor. Mixing genres already on the first song, there are hints of dance pop, clubhouse, funk rock, and indie crossing paths and intermingling within “Welcome to the DCC.”

“Overcome” slows things down in a softened, more hopeful tone, enhanced with an imposing keyboard riff, introspective lyrics, and soulful vocals. A warm guitar solo preludes the bridge, gaining power in the chorus that follows.

Dreamy and upbeat, “Tomorrow is Closed” creates a melodic atmosphere that quickly bursts into a catchy sing-along chorus. Connor Mason’s vocals are alluring especially on the verses before catering into the attitude of the main hook. “Tomorrow is Closed” consists of that fuzzy, retro-styled tone that was popular in early 2000’s indie-rock but works exceedingly in this piece as well.

“Keeping You Around” is hip with an underground beat in a moody context. Tragic, while slow and gritty at the same time, the fourth track is thick with yearning and a weighted tension.

Bluesy and grimy, “City Haunts” is a thrill, an instant high of electronic sounds and greasy riffs. Dancefloor material, “City Haunts” excites listeners with its heavy electronic drumbeats controlling where the song goes. Synth accompanies the beat, and the harmonies combine together to create an alluring anthem.

“Green Eyes :: Siena” captures the heart of the album. Drifting into a sleepy ballad, the eighth song is enduring and simple, without the distortion of the full band sound. Enchanting lyrics that speak like a love letter, open and inviting while lonely and pining, “Green Eyes :: Siena” takes a step out of reality and into the world of a dreamer in love.

The pulsing pop cadence returns in “Foreign Language” a far stretch from the last track. Still full of longing, there’s an electric danger in this song which follows and adapts to a more leisurely pace in the next track “Talking to Myself,” another moody ballad.

“Pop the Balloon” finishes off the compilation with its slick and haunting harmonies and a rhythm sharp enough to cut to the core. Halfway through the song, it slinks into a ghostly melody, silky and low before embracing the album’s hardest guitar solo, ending it with that same cool sound it began with.

Nothing But Thieves brought the danger element to this year’s indie-rock category with Dead Club City. Soothing and edgy at the same time, this album is an all-around thrilling summer soundtrack with several music videos already released, including “Tomorrow is Closed,” and “Overcome.” Dead Club City is witty, clever, and full of high voltage, an album that creates a warm fuzzy feeling while rocking your socks off.

I’m Music Magazine Writer Alice Kearney