Nathan Detroit – Peace Of Mind review

Peace Of Mind - Front Cover Hi-ResWiltshire quintet, Nathan Detroit, are due to release their third release in two years tomorrow. On the short side of EPs, these four tracks are packed with pop-punk goodness, infectious hooks and catchy melodies. They keep away from cliche potholes, and in a genre that’s rapidly becoming milked, they set themselves apart with a fresh take on the scene, with a compact and solid sound that suits the genre to a T, but doesn’t have the lingering have-I-heard-this-before? effect.

An almost mellowed-out guitar opens first track The Way Down, before dropping to rope in the percussion. The music continues to drop and build up in accordance with the focus of the lyrics, with a steady pace retained throughout the song, and avoiding the usual tactic of including a breakdown. There’s no dramatic exclamation in the track, and this works in the band’s favour, with a consistent sound that doesn’t need to be loud or overly out-there tot grab your attention.

Never Enough continues the solid sound, with a soft opening that only becomes an exclamation when the vocals bring the pace up. This track is clearly the most vocally driven song of the track, with the music dropping and being brought up again by them, with the music following – this continues right until the close of the track, whereupon the abrupt finish is brought about by the end of the lyrics.

An acoustic guitar (which seems to pick out the opening of a P!nk song, but never mind) welcomes the seconds half of the EP, with I Will Always Be Part Of This World, and although it feels like the music will break out into a heavier sound, the guitar is accompanied with soft, clear vocals, which dominate the music. When the full band instrumental does break out, the track becomes filled with catchy hooks and a fast pace, before another abrupt close.

Closing track, Every Heart, holds the most powerful opening, percussion not up for being held back. The brief, melodic chorus gives ample chance for a live gang-vocals section, and even the studio version undoubtedly induces chants of, “I know there’s rooms in every heart”. Another short close serves as the downplayed finale of the EP, which feels a bit of a disappointment, with a refrain as addictive as that, I’d hoped for something a bit more dramatic.

This EP is short, sweet and simple; packed tightly with the refrains and hooks that make its signature sound – for fans of good, honest pop-punk.

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