The Lad Classic’s story is one which is sadly all too common in the music industry. After having put in the hard work, they got the break they felt they deserved only to be chewed up and spat out. Rectifier acts as the band’s attempt to have the last laugh, directing their disgust at those who, in their eyes, deserve it.
With that knowledge in hand, the lyrics come from a deeply personal perspective. Not knowing who to trust, venting their anger and calling out the faults they found. Whilst anyone can relate to these on some level, the band aren’t quite writing songs for that purpose but more in line for themselves, adding in an extra layer of venom to Paul Stevens’ vocals.
Musically, it’s slightly tamer compared to what I usually find myself listening to. It’s unashamedly a rock record and the band have poured their influences into it to create something of their own brand. With elements of pop, funk and indie, there’s a very radio-friendly sound on offer. Between the bluesy licks of Ben Healy and the driving, funky bass lines of Josiah Whitney on tracks like “Who” and “Hip Shaker”, you can hear bands like Rival Sons (especially on the former’s pre-chorus), Hendrix and The White Stripes.
Meanwhile “Kitchen Sink” and “I’ve Got Your Sympathy” are almost as if Biffy Clyro opted for a bluesy angle with its fuzzy and staccato guitar work and brooding bass.
The afore-mentioned Stevens doesn’t move far out of his comfort zone. It’s not that he has a limited vocal range – if anything, it’s the complete opposite. There’s an underlying sense that Stevens knows how powerful his voice is but most of the time he reins it in, almost as if it’s unnecessary to show it. However, by showing the restraint, it ties back to the lyrical themes of the album and presents a band that are determined to move forward and be the bigger people. It also hangs well on the album’s softer moments, displaying a level of vulnerability.
It’s during these more tender moments, sadly, that the album falls from its upward trajectory. Loading them all at the back with the acoustic versions weighs the album down, unbalancing it and making the last few tracks more of a slog than they should be. On the flip side of the coin are the aforementioned acoustic interpretations and the final two of “Halfway to Memphis” and “I’ve Got Your Sympathy” are elevated to a new level of passion and in the latter’s case I’d make the argument for being the better version. Stevens’ vocals bear more weight and are loaded with more passion as if fully bearing the band’s soul.
“Summer Song” sounds like Rival Sons in their most haunting moments when they take a more stripped-back sound. Here, it acts as a great album closer, even if its impact is dulled by immediately following similar tracks.
Largely, The Lad Classic have a great album in Rectifier, combining sounds which should be at odds with each other but fuse into one cohesive package. Released as an album on their own terms whilst having a few choice words for former associates, it’s an excellent addition to their arsenal, even if the pacing lets it down.
Rectifier is out now
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