Review Summary: Definitely has the “WOW” factor but thanks to a few “Tiny Little Fractures” struggled for stamina. But “Whatever’s Left” is pretty good!
Gary Lightbody: Lead vocals, Guitar.
Paul Wilson: Bass guitar.
Jonny Quinn: Drums/Percussion.
Nathan Connolly: Guitar.
Tom Simpson: Keyboards
My apologies first for the puns in the title, however it does sum up the album quite well.
It’s amazing to think that this is Snow Patrol’s third album, and that it took them seven years to really find their sound. But with a change of record label brought a fresh start, coupled with the appearance of a new guitarist, a new producer and better vocals and lyrics (particularly from Gary Lightbody) Snow Patrol have burst onto the alternative rock scene.
Due to the little hype surrounding the first release the album was re-released six months later and took off in style. The masses simply adored “run” whilst “Spitting Games”, “Chocolate” and “How To Be Dead” also went down well. Suddenly “Final Straw” was flying off the shelves and snow Patrol had finally arrived in style.
The tone for the album is set very early as the opening song “How To Be Dead” reflects the sombre yet relaxed sound that much of the following songs adhere to. It’s hard not hum along with Lightbody’s effortless, almost monotone vocals that will become something of a trademark as the song moves on.
“WOW” picks up the pace and brightens the atmosphere a little more. The distorted vocals allow the strong, rhythmical drums to kick in and the somewhat repetitive riffs to also add to the quicker pace. However it lacks the “WOW” factor unfortunately and leaves us a little disappointed.
Followed up by the infinitely more emotional and angry “Gleaming Auction” the good changes in pace, instigated by the also gleaming guitar allow the song to lift the album and we’re finally left with some satisfaction.
“Whatever’s Left” is again angry and raw. With Lightbody fading a little the instrumentals are polished and show good changes in pace. But some careless and disappointing lyrics leave the song hanging a little.
Until this point the album could be described as average, even forgettable by some, lacking a real memorable single and confused as to the mood this is where the Patrol show their real potential.
“Spitting Games” is amongst my favourite tracks. It’s quicker, more upbeat and comes away from the sombre mood enjoyed by earlier songs. The raw tones of Lightbody provide contrast the upbeat instrumentals and this contrast gives the song some vivacity. The only real criticism is that the lyrics lack meaning but finally it yields satisfaction.
“Chocolate” is also strong. The guitars add the rhythm. Lightbody excels in this song, fluctuating his tones to accompany the repeating riff. This song is catchy and allows the lead to impress to a great extent. Also incorporates the album title into the song.
And now for “Run”. It would be unfair to say that this song carries the album but seldom does one song become so memorable amongst others. The guitar carries the beat in this emotive ballad. A sombre and emotional atmosphere is accentuated by an up tempo chorus. The song is reflective and expressive. Lightbody is passionate and brash in his delivery, his confidence and talent simply oozes through and gives the song’s lyrics some much-needed enthusiasm. A true anthem of alternative rock and the song that will keep Snow Patrol in business short-term.
After the three best songs on the album it is understandable that what follows struggles to live up to its’ precedent.
“Grazed Knees” is a struggle and an effort. Lightbody has already shown his competency but is let down by a lack of instrumental. There is no doubting his aptitude but he struggles to carry this song.
“Ways And Means” is distorted and darker altogether. It seems that the band have tried to build an angry and emotive song but it fails to work on any level. A quicker pace is used at the end but it can’t save this song from being added to the endless lists of forgettable songs.
The album is suddenly running out of steam. The promise shown by “Spitting Games”, “Chocolate” and “Run” has faded. The catchier and faster “Tiny Little Fractures” offers some improvement. A lighter and more relaxed atmosphere allows the band some breathing space.
“Somewhere a Clock is Ticking” gives Lightbody an opportunity to promote a wider range of vocals. Contrasting tones give the song some life and vivacity as well as the strong combined instrumental.
Unfortunately “Same” just about sums up the whole album (the title that is)! The vocals seem more genuine whilst a slower more harmonic tone gives a relaxed atmosphere.
In summary “Final Straw” is initially very good. Lightbody’s vocals are brooding and passionate throughout and there is no denying his talent. It seems that Britain has producing an indie band that can at least compete with their transatlantic rivals. Admittedly there is a bit of filler and that is seems to be masked by an instrumental assembly that is able to interact exceptionally and compliment Lightbody.
And then reality kicks in. Once you’ve listened to it more than a few times the novelty wears off. It is the same trick over and over. Unfortunately it is difficult to differentiate between moods a lot of the time and in parts the band tries to appear sombre whereas it doesn’t quite work as perhaps intended.
Admittedly maybe I’ve been overcritical. There is little doubt that at least four of the tracks are strong and would make it on to most indie-lovers playlists. But the band should’ve taken more risks. It would have been nice to see an attempt at a real upbeat, optimistic song. But that’s what you get with Snow Patrol. Emotion, vivacity and passion – all in abundance.
