Music Album Review: You Me at Six – Night People

Their violently perky style, Josh Franceschi’s brassy verses and their one of a kind thought on the pop punk sound put them on the guide as the substance of new UK elective music, and prompted to them visiting close by scene symbols, for example, Paramore and Blink 182. Since the notoriety of pop punk started to tail off at the turn of the decade, You Me at Six have tried to reevaluate themselves in both sound and picture, and no place is this more clear than on Night Individuals, the band’s first excursion since 2014’s tepid Cavalier Youth, and fifth album overall. So, what’s new?

The title track that commences the collection looks to answer that question, a driving song of praise that trickles in smooth generation. The singalong theme infers a melody worked for field shows and celebration feature spaces, both of which the band have encountered in the most recent five years. Gone are the stories of relationship dramatization and easygoing sex; the verses here are particularly less individual and feel more like they exist just to give a rhyme as opposed to make a point (‘Say no more/I’m out the door/the day has gone’). The sound is far moodier and darker than anything the band have created so far.

The accompanying track, ‘Plus One’, features a more lively and forceful hard shake style that seems a few circumstances on the collection, however in this occasion I feel it isn’t pulled off too well: the melody does not have a respectable snare and battles to legitimize its position on the collection. A case of this style working is on ‘Swear’, where the vivacious style networks with Franceschi’s angry and forceful verses (‘I swear / I don’t really wanna talk it out’).

The tracks ‘Heavy Soul’ and ‘Top of the World’ are occasions where the new solid functions admirably. The previous is an appealing pop shake tune that I would peg as a future single, the last a melody that begins ease back and works to an enormous, serenade a-long crescendo that strengthens the band has its sights settled on the field appear. The collection sparkles in these slower, calmer minutes, for example, on my own highlight ‘Give’, which begins off as a despairing, acoustically-drove ditty before detonating into an anthemic finale including some of Franceschi’s most emotive vocals to date (‘What are you looking for? / I don’t think you know’).