Review Summary: ‘Out of the Wasteland’ is not necessarily a regression for Lifehouse; but a rebirth.
Whichever way you look at it, Lifehouse are survivors. The band established themselves through the early 2000’s alternative contemporary rock/pop scene with a number of radio hits including the hugely popular ‘Hanging by a Moment’. So it’s definitely a testament to the band that they are still able to continue doing what they love, some fifteen years after their conception. With six albums under their belt, their seventh album Out of the Wasteland has finally been released and is a positive step for their career. Their last album Almeria, which came out in 2012 received some positive reviews from critics, largely received a lukewarm response from fans. It was as if this disparity reawakened the band and made them realise they don’t write music for critics, they write it for their fans. So with this in mind the band approached the studio for the seventh time around with a goal of restabilising their core sound. This sounds quite cliché, but they have embraced it and truly sound like Lifehouse again.
As soon as the opening track and lead single ‘Hurricane’ begins its clear that Lifehouse are back to their core sound. Drumming sets the pace for upbeat radio friendly rocker, with lead singer Jason Wade’s vocals sounding as emotional and crisp as ever before. ‘Hurricane’ is somewhat reminiscent to ‘Halfway Gone’ from Smoke and Mirrors, due to its rollicking pace and big singalong choruses. The next cut off the album is ‘One for the Pain’, which opens with some distant drumming, that hints at a distinct western themed vibe. The somewhat nursery rhyme styled chorus is effective but can’t make up for the overall bland lyrics. The track initially feels like an early filler, but does act as a nice transitioning song into ‘Flight’. ‘Flight’ is classic Lifehouse in every way. Slow soft piano touches ring out across the speakers before Wade’s gravelly, yet soothing vocals accompany it. The piano carries this song along, whilst the rest of the band creates a solid atmosphere around its bold lyrical display. This epic, yet subdued ballad builds up to a huge conclusion and will please long-time Lifehouse fans, no doubt making it an instant favourite.
Lifehouse continue to explore their blend of alternative soft/pop mix throughout the remainder of ‘Out of the Wasteland’. Some songs showcase the talented band, whilst others let them down from being covered in mediocrity. ‘Firing Squad’ and ‘Yesterday’s Son’ are clear standouts on the latter half of the album, which remains intriguing enough to want to listen to. ‘Firing Squad’ includes the most infectious chorus on the record, which leaves Wade’s vocal delivery permanently etched into the confines of your head. But apart from this song, it’s the albums final two tracks that really shine and bode well for the future of Lifehouse. ‘Yesterday’s Son’ starts in kind of an unusual fashion, with a number of nuances and piano glints giving way to Wade’s voice. His voice is quickly accompanied by a number of overlays, which remains the sole sound emanating from the darkness. This effect combined with some soft acoustic guitars and upbeat drums slowly rise around the vocals, making it an enjoyable listen. Closing the album is another ballad titled ‘Hourglass’ which again shows off how Lifehouse is able to deliver so much emotion and meaning in their music.
‘Out of the Wasteland’ in essence sounds like the real Lifehouse, which is not necessarily a regression; but a rebirth. Their seventh album is clearly a statement made for their fans to enjoy and even though it might stumble in parts, it’s a decent record. It might not quite reach the heights of their most consistent release Smoke and Mirrors, but it’s definitely a good stab at recapturing what made people love them in the first place. Sometimes change can be for the better, but for Lifehouse I feel that they always knew where their home was in the musical landscape and now they are back where they belong.
