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Coldplay, Kings Of Leon and their ilk should be quaking in their boots.
Mass appeal "indie" music is frequently full of over-hyped dross, but sometimes an
album comes along that manages to appeal to a massive audience and doesn't
pander to expectations. Australia's The Temper Trap could well be about to release one of the
years biggest surprises with Conditions as it ticks so many boxes
convincingly that it's practically impossible to dislike.
If it's big stadium tunes you're after then look no further than the
supremely emotive Downriver with its plaintive vocals courtesy of Dougy
Mandagi and the swelling strings that close out the track. You want dark and moody? Skip back to the brilliantly brooding Love Lost
which manages to mix simmering guitars, driving drums and a vocal that calls
to mind Bronski Beat. That might sound pretty odd but it's hugely effective.
Rest is similar in tone, only this time Mandagi is pitched against
thundering bass, motorik drum beats and an almost minimal melody line that
allows his voice to take centre stage.
It's Mandagi's voice that's really going to sell The Temper Trap. The man
is truly blessed. He does that high pitched aching vocal so well that you
suspect he must have been in tears multiple times during the recording of
Conditions, for his performance is flawless and drenched in emotion throughout.
He has contemporaries in Jimmy Somerville and David Mcalmont, and
there are times when we can't shake the memories of Mansun's Paul
Draper from our minds either. Even more peculiar are the opening moments of
Resurrection which somehow manages to sound like Pink Floyd being
fronted by Jake Shears. Well, it would be peculiar if Scissor Sisters
hadn't already covered Comfortably Numb.
Musically The Temper Trap are fairly similar to Mansun's more grandiose
moments such as Wide Open Space, but you suspect that they've been looking
to stadium sized bands for inspiration. Check out the beautifully delayed
guitar that graces recent single Sweet Disposition and try not to think
about The Edge in his prime.
Coldplay comparisons are sure to dog the band too, but when they've
got songs like Fools, which practically steals the sheet music from Chris
Martin's hand, sticks two fingers up and runs away laughing, they can hardly
be surprised.
Yet for all these reference points and comparisons, The Temper Trap are very
much their own band. There's nothing here that's going to surprise anyone in
the slightest, but this is sleekly produced, brilliantly written and
expertly executed radio fodder. If that's the kind of thing you'd sneer at,
then you should reconsider because The Temper Trap has created something
that can appeal across the board. The Temper Trap could well become the Coldplay it's OK to
like.
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