No Sleep Records, home to the likes of Balance And Composure and Major League, has become one of the most consistent labels around when it comes to quality, and Daisyhead will be hoping that ‘The Smallest Light’ is as well received as other releases for the label have been. That Daisyhead have previously released a split EP with Have Mercy gives an indication of what to expect, although their take on 90’s alternative-rock initially seems to lack the emotional bite that their peers possess.
‘Defencelessness’ is a solid start that draws you in with vocal hooks, but also feels slightly uninspired at the same time due to some fairly routine guitar parts that fail to move the song forwards. ‘Lacking Basis’ comes up against similar obstacles as it struggles to make a lasting impression and a feeling that ‘The Smallest Light’ might be lacking a vital sense of direction starts to creep in. Thankfully such doubts don’t last long, and the appeal of ‘The Smallest Light’ starts to become a lot clearer as the album progresses. ‘Lead’ borrows from the 90’s alternative scene that Daisyhead are indebted to but sounds original and compelling as they take on more melodic influences. ‘Lead’ also feels more ambitious in scale than the songs before it and it’s from here onwards that the quality of their song writing starts to shine through.
Daisyhead start to grow in confidence with each song that follows, as demonstrated by the title track with its grungy intro and brilliantly placed vocal harmonies, but perhaps the best example of their successfully ambitious approach is ‘Lost Her’. Arguably the most anthemic track on the album, the added strings help the song build from hook-laden choruses towards a ridiculously good final third full of rising vocals that recalls ‘Deja Entendu’ era Brand New in structure and delivery.
At a time when numerous emo and post-hardcore bands are reforming for anniversary tours or re-issuing albums, it would be easy to dismiss Daisyhead as being yet another band trying to cash in on the ongoing scene revival. However despite one or two moments where they rely a bit too heavily on their influences they manage to avoid falling victim to any major genre clichés. The refreshingly uncomplicated ‘Inanity’ and the instrumental interlude of ‘The Halt’ are further examples of Daisyhead’s unique take on a well-worn sound. It’s this perfect mix of complexity and accessibility that makes ‘The Smallest Light’ such a strong, consistent and rewarding listen. Guitarist Michael Roe has spoken of how proud the band are of their début and on this evidence, their record label and their fans will be equally as happy.
CHRIS HILSON