Inme is a band from the UK rock scene that enjoyed quite a bit of success in the mainstream with their first two releases,
Overgrown Eden and
White Butterfly. Both releases housed several charting singles, some of which included popular cuts such as "Underdose", "Crushed Like Fruit", "Faster the Chase", and "So You Know". Unfortunately, the band had a rather hard time making it in the music industry following their second album--miscellaneous label changes, band members coming and going, marketing problems--even though the singles seemed to do quite well on the charts and the fan base that quickly took to the band happened to be--and still is--quite strong.
Their third album entitled
Daydream Anonymous marks quite a stylistic shift for the band, the beginnings of which could first be heard with the more mainstream-oriented
White Butterfly. Lead vocalist and guitar player Dave McPherson really pushes his guitar playing skills to where once were naked riffs now contain various solos and fill-ins throughout the album. The areas of drumming and bass guitars are also greatly improved. The end result is a less mainstream-appealing record--though it is certainly filled with catchy vocals and solid choruses--and a more technically strong rock record that caries many metal-like characteristics.
The album opens with "Myths and Photographs" and begins with a slightly quiet effect before the guitar players begin dancing up and down the fret board for a positive effect. The verse gives the listener their first taste of Dave’s unique vocal style, which actually happens to be quite original in its high pitched yet smooth delivery. As with many songs on this record, the lyrics for the song are nothing to jump around for as they cover the typical subjects of life, girls, and in this instance past efforts for Dave to get to where he is in life. Excluding the depressingly bad single "Won’t Let Go" the lyrics--while unoriginal--are handled well with clichés few and far in between. The next highlight is "Cracking the Whip", and it certainly is a wonderful song. More fret dancing falls into a driving riff that opens the song before slowing down again for Dave’s verse. The chorus is quite anthemic and catchy, closing off with the powerful line,
“Get on your knees and know that I’ll be the one cracking the whip from here on!” After said line the song goes into more fret dancing to add emotional urgency to the words. The bridge section of the song throws a wonderful solo in before closing with another chorus.
There are two ballads on this record--the title track and "Thanks for Leaving Me". The latter sounds quite emotional and happens to be the more technical of the two music-wise. However, the song seems to drag given its six minute length and somewhat repetitive nature as well; it seems to me that the song wants to build up for an epic finale but it unfortuantely ends up going nowhere in the process.
"Here’s Hoping" should have been the album’s single--"Won’t Let Go" was the only one and charted only at 77 on the UK Singles Chart, lower than many of the band’s previous singles--as it isn’t nearly as embarrassing as the prior in terms of lyrics and in holding an annoying hook; the chorus here is effective, memorable, and contains mainstream appeal as well. The guitar work isn’t as strong here as on other tracks, but that probably just adds more appeal for the common listener. Too be honest, "Won’t Let Go" is quite catchy too but only in the annoying sense whenever a song seems to get stuck in your head. One publication noted that the song sounded as if Fall Out Boy had written it; the writer was probably not meaning to diss Fall Out Boy in any way, but it’s just that Inme were never really meant for that genre of music; this song really proves that.
"Rain Drops on Stones" begins with whispered vocals by Dave before going into a more passionate verse and subsequently, a catchy chorus that builds and moves with a verse-like progression. The guitar work isn’t as strong here as the rest of the album, however, but the chorus and the song structure make it a unique highlight. Finally, the album closes on what is arguably the best track of the record. "A Toast to Broken Glass" opens with a simple riff and then soon launches into what I would describe as a blatant chase across the fret board; the quick change is sure to catch people off guard on first listen. The verse speaks of a father a son following his father’s path in life. After a lengthy verse the chorus comes out of nowhere with a riff and lead that rises and falls in a pleasing way for our ears. The bridge/breakdown section is quite impressive on this track as well, offering many stomping riffs and solos that are thrown about in random succession--albeit responsibly--before one final guitar race ensues that mirrors that of the intro.
Daydream Anonymous marked a huge change in the sound of Inme; one that appears to have been carried on to their soon to be released fourth album,
Herald Moth. Dave McPherson really has worked hard on his vocals--eliminating much of the annoying squeak and shriek of the band’s earlier days. A few songs on this record hold it back, however, but taken as a whole,
Daydream Anonymous is an excellent effort that creates a very unique sound that mainstream audiences need to be exposed to. Inme are certainly more than the common emo, alternative band that they were when they first appeared on the UK scene. From the looks of it, the band are becoming progressively more technical and enjoyable with each release.
