Whitfield

The latest British export that everyone is buzzing about is Whit.... what? They're from Vancouver? Well colour me stunned...

Vancouver has never been able to call a band of this world-dominating calibre their own before. Whitfield is a band that has honest to goodness exploded from modest beginnings into this soaring, flowing, feel-good cascade of Britpopperiness. And this new record proves that without a doubt. Starting up with "Bright Lights," a song that makes Chris Martin look like child's play, they roll easily into the haunting, somehow dangerous-sounding "She Takes Me." Reverb-y guitars, thumping drums, and layer upon gorgeous layer of shimmering noise billow out of the speakers. Jobie Mallett's voice carries a slight earthiness as he sings drifting lines, powerful strains, and even lilting accents. Have you ever found yourself in a place so impossibly beautiful that your only reaction to it is that your legs simply have to collapse under the sudden weight of your emotions and you want nothing but to sit there and stare at it for the rest of your life? That's what this album is like. Only for your ears.

The amazing up-step on old favourite "Circles" is gut-wrenching. What is that crazy guitar effect?! I can't believe the path this band has trod upon in the last couple years. This is what progress is all about, folks. Listen up, learn a lesson. Alongside all the flowy ambient albums that have poured mainly out of the UK in the last while, this one annihilates a lot of them (it's far more exciting and well put together than, say the Arctic Monkeys. What's the deal with them anyhow? Monkeys?) and easily fits into the empty space in the Really Fucking Good Band puzzle your mom bought you for Christmas. Athlete? Completely not even close. Coldplay? Aren't you sick to death of Coldplay by now? Maybe the Doves can walk hand-in-hand with Whitfield. It's a beautiful thing. It still reminds me a lot of Palo Alto (mostly vocally), but a thousand times more exciting.

"Wait" carries the delicacy of water-filled crystal with the love of Cupid and the comfort of a cup of hot chocolate with marshmallows. The guitar work throughout the album is hands-down amazing, running an enormous gamut of vibes and tilts, telling stories on its own behind the vocals and strings. The 'danger' aspect seems to run rampant through the songs, even though the themes are sweet and loving. Low, thrumming bass - so low you barely realize it's there - and those sad, sad guitar notes, the taffy-pulled vocals all add up to a weird eeriness. Neat. "Shining" is colourful - the chorus is like a carnival. Oh ho ho how funny, as a song and a half later, the word 'rollercoaster' comes in. That tune, "The Place You're At," is the black sheep of the album (aside from the staticy interlude that preceded it). It's a plinking, plucking tune, reminding me of guys playing giant stand-up basses. It's a song one could do some snarky Spanish dance to. And then poof, back into the snarly and guitar-laden driftitude. What a groovy flow this thing has. "Sad Case Soul" is so much fun - upbeat and edgy, filled with big poppy harmony-laden choruses, and leaning more towards a Suede or Travis type of energy. That's followed by a song that is pretty well a waltz. The bass pumps up near the tail of this one, urging the album along into its final throes. Ghosts of vocals pour over the last few seconds until we die out in a soft distant ocean wave... These guys are showcasing their versatility no holds barred.

Honestly, how is something like this humbly doting about Vancouver instead of already eating the planet whole? I think Whitfield is still tying the bib around its neck so it doesn't get the mess of millions of crappy bands all over the front of its crisp rock n roll shirt. If record labels aren't lining up, salivating with contracts and pens in hand and scrambling to be the first to get to these guys once this album hits the streets, I'll be surprised. And throwing in the towel. It's perfectly on par with the sort of music one finds mega popular with everyone from moms to 14 year olds, jocks to shoegazers. It's accessible and actually musical, without being haughty or boring. It's, as said, on par, only way more creative and entertaining than most of the radio schlock nowadays. The radio needs this band.


The wait was definitely worth it.


Challenging to choose a favourite - the initial punch of "Bright Lights" is fabulous though, so sheerly based on timing, I'll stick with that. - Cord Magazine (www.cordmag.com)