Dead Sight product reviews

The follow up to their tremendously popular, award-winnning debut album, 'Mode. Set. Clear.', 'Deadsight' has high expectations to meet. The first thing that is noticeable is that the sound isn't perfect. By that, I mean that while instrumentally and vocally correct, you can hear the extra sounds of the equipment maxxing out and distorting in the early tracks; sounds that are generally left out to create a cleaner sound. But this isn't a clean album; it is decidedly grungier and grittier than it's predecessor, and provides a more live sound.

The opening track 'Give up the Ghost' sets the mood for the album; loud, deep power chords, with a more subdued lead guitar to what I am have heard from them in the past. Lead vocals in this album are more abrasive and in your face this time around, but there are still moments of melody with backing vocals.

This initially seemed like Villainy's attempt at trying to get their sound "up to eleven", with tracks like 'Syria' having a vocal melody reminiscent to that of an angry Billy Corgan (Smashing Pumpkins). Overall, the album feels rather unbalanced, ranging from very soft fluid bridges into reliably solid, yet riotous chorus arrangements. Gone is the old method of alternating between power-hungry relentless hooks and slower introspective harmonies; this now more commonly occurs mid-song.

After the first 3 tracks, the tempo begins to slow, and tracks like 'Love & War' and 'The National Guard', hark back to their debut album with the likes of 'Paradise Lost' or 'Another Time', providing smoother, hypnotic, mid-tempo tunes, to provide a break from the constant staccato thundering chords of the guitars, and gives Thom a chance to show off his instrumental prowess with some more delicate, and intricate skillful play.

The entire mid-section of the album feels restrained, with the rather generic, mass appeal, radio friendly tracks 'Dead Sight' and 'Nothing Ever Changes'. While the music works well, and you can feel the vibe of a well functioning band, it feels like the individual members have taken a step back; the band is heard as a unit, rather than as a group of extraordinary individuals that each have a chance to shine and be the centre of attention.

After eight tracks we get a resurgence of the classic sounds that we have come to expect from Villainy with 'No Future'. Providing a much needed boost of energy to the album in the form of modern punk, it is almost shocking, with vocals that sound improvised on the spot, yet it works well. It keeps up with the up-beat music, and has high impact, finally providing some real "Thom" guitar; his signature sound of high pitched, controlled squeals and screams.

'Ginzu Knifing' has a lighter sound to it, with a higher tempo that has stronger links to 'Mode. Set. Clear'. Quite a fun song vocally, it will no doubt be a hit when performed live. The short, repetitive structure and vocal contributions of the song bears a striking resemblance to another New Zealand act, Steriogram, whose release 'Walkie Talkie Man' was wildly popular back in 2004.

'The Great Unknown' brings the album to a close with little fanfare, almost prematurely. Overall, it's a good album. the technicality of the musicianship is finely calibrated, but I found that the album was rather unbalanced, and lost a lot of energy throughout the album. It works well as an album, as a journey to be listened to in its entirety in one sitting. But as was mentioned with the individual performances of the band members, none of the songs really stood out on their own.

It certainly doesn't have the hold on me that 'Mode. Set. Clear.' had, but I can certainly see enough promise for at least four other tracks beyond 'Syria' and 'Safe Passage' that would make a reasonable showing as radio releases. Taking the price into consideration, it is great value for money, and a superb album for New Zealand rock industry. It just falls short of expectations set by its successful predecessor.