Joined by guitarist Greg Almeida, VISTA is the newest musical project for front woman Hope Vista, following a previous solo career. That career spawned a track called ‘Dominance’ back in 2015 and it pops up again here, in reworked form, as ‘Dominance 2.0’. Aside from a more sparse intro and a few tweaks here and there the two versions are largely similar. ‘Dominance 2.0’ feels more fleshed out than the original but it’s by no means better — just slightly different.
The previously released ‘Henchmen’ further ramps up the familiarity having been out since the turn of the year. It is actually one of the weaker songs on the EP, lacking the fire and passion that you would expect to hear in a song that the duo describe as a song about battling oppression in the politically divisive times we currently live in. It would be easy, although unfair, to dismiss VISTA off the back of one song and an over-enthusiastic description.
To do so would be a mistake, as you would miss out on the brief but beautiful ‘Part III’. It’s a song that completely strips away all the angst and arena rock stylings, and shines a spotlight on Hope’s vocals. The other songs show off Hope’s range and capabilities, but ‘Part III’ has nothing but a subtle acoustic guitar for company. It’s just over a minute long, but it’s the best seventy seconds on the EP. If VISTA ever decide to reinvent themselves as a mainstream acoustic duo then it is snapshots of their potential such as this which will provide the inspiration.
The rest of ‘Long Live’ has its strengths but these are tempered by less assertive moments, where it becomes clear that VISTA are only on their second EP and have yet to fully figure themselves out. ‘Hellbent’ is relatively heavy compared to the other songs, but despite its restless nature it feels strangely lethargic. That said, it’s clear that VISTA are more than capable of writing strong and captivating songs, as the dark pop melodies of ‘Inside Anxious’ and the understated hook of ‘Allegiance’ both prove.
More than anything ‘Long Live’ is dulled by a sense of over familiarity from a marginally reworked two year old song and a single released almost eight months ago. There is just enough brand new material to get your teeth into, but less deja vu would have made it much more exciting.
CHRIS HILSON