Unable To Begin Anew Without This Missing Piece: FEVERS’ No Room For Light

By Charissa Lock

Sometimes you can’t move on without taking a step back, clearing the smoke of past mistakes or confirming your teetering passions.  So is true for myself.  How can I possibly continue into 2014 knowing the pop dance beats, high energy melodies, and delicious vocals of FEVERS debut full length album had been in existence previous to my knowledge?  I am incapable of continuing into the new music year without allowing myself the chance to fully consume and release my incredible reaction to No Room For Light [2013 Fevers] Out Now! Get it here, here or here

With that being said, this slight detour travels you through the enchanted story of when The Naked and Famous met CHVRCHES, fall desperately in love and create a rebellious and independent love child named FEVERS (the GIVERS may, or may not have dabbled in the affair concocting a love triangle of sorts).  With a fantastical creation this explosive, it is no wonder I am in awe of this quintet from Ottawa comprised of Sarah Bradley (vocals, keys), Mike Stauffer (drums, sampling),  Jim Hopkins (bass), Colin MacDougall (guitar, vocals and keys) and Martin Charbonneau (keys, guitars).  Of course the actual events may not have happened exactly as previously stated, but you listen to about three tracks and you will probably be in some sort of agreement.

The intense energy involved in every second of the eleven tracks is captivating, taking you gently by the hands.  It leads you through a mystical gallery of stories reincarnated by an electro dance foundation almost made insignificant at times to the consuming vocals rising and falling on melodies in impeccable motion.  Realizing moments later that the beat is quite catchy, or the instrumental bridge hosts huge drum rolls and heavy guitars (“They Want Blood”).  Relocating from one visually intricate musical experience to the next, you are truly an observer.  Never knowing what to expect, or “when that amazing vocal transition” is due, you are forced only to sit back and witness every moment again, and again.

The more you listen to No Room For Light the more in disbelief you become.  How is everything so perfect, why do they take brilliant notes and fire them into a world that I never knew existed making transitions extraordinary?  The album begins with “Autumn Is Dead,” a track that would typically be seen as one of the last few on a debut LP.  The colossal energy and deep themes are quite impressive for an opener, but then again, every song is of this caliber so I’m not really sure where they would have placed it.  I wouldn’t have thought an adult spin on “Down By The Bay,” (“Monuments”) would leave me feeling quite nervous and uneasy, but you must lose any inclination of assumption. As you’re pulled along, you experience some of the most wonderful melodies in combination with one another.  The flinging your legs and lack of control in your body of tracks with a dancing nature like “Pray For Sound” and 70s vibe “Dance Cry Dance” is deliberate in how it wants you to move.  The slower tracks only mean stronger vocal arrangements and juicier surprises towards the end (“Look Alive,” “Goodnight,” “The Veil”).   All of these tracks conclude with either sweat dripping from your brow or tears streaming from your eyes.  If it doesn’t start with your heart in your throat, it certainly is going to end that way, and not even by theme (though in “They Don’t Lie” that certainly takes priority) but more-so by intensity.

My favorite track?  Well that’s quite a silly predicament I’m placed in.  “Goodnight” dances along a simplistic female-lead pop melody heard on any radio station, but the glittering and spinning engulfs into a blissful expansion that capitalizes on any intention you ever had of where this was going.  That’s pretty much all I could ever ask for.  Then again, “They Want Blood,” is my typical type of “favorite,” with the upbeat giddy nature and then with the piercing vocals slicing through your heart at the bridge?  Get out of here; I cannot even stand the delicious gifts they give me.  However, “The Veil,” has to win strictly for the final two minute vocals…the multiple falsetto melodies going on at once…my god you’re destroying my appreciation for any music.

Please join me in back tracking at least one album before jumping full force into 2014’s Young The Giant, I Break Horses, 311, and much more.

ktc mgmt

TAGS: Jan 24th, great night of music in LA, Grimes and STS9, whyyyyyy, Coachella lineup!!, ID at the Wiltern, Willie Nelson at the Wiltern