This House We Built – Get Out Of The Rain
Scarborough based contemporary rockers This House We Built – Scott Wardell (vocals, guitars, percussion), Andy Jackson (guitars, vocals), Chris Mayes (drums, backing vocals), Wayne Dowkes-White (bass) – made a critically acclaimed impact with 2022’s self-titled debut album.
While This House We Built was a strong offering that sat upon pretty firm foundations (pun fully intended), it also played as a multi-faceted introduction to a band still shaping their own identity, with all their influences to the fore (which, through each individual band member, range from American melodic rock and British classic rock to nu-metal and punk).
Three years on, with a number of significant festival appearances under their belt and having been out on the road with the Quireboys, Those Damn Crows, Danny Vaughn (a champion of the band) and Tyketto, among others, the band have honed both their sound and skills to deliver Get Out Of The Rain, a contemporary, cohesive work that has benefited from working with producer Dave Boothroyd (who also provided some creative guidance and a few lyric writing assists).
Opening number 'Rain,' following a brooding, rhythmic first stanza, builds to a more melodically shaped piece of high-class contemporary rock with cleverly utilised, Gregorian styled backing vocals and a huge hook chorus.
The song is made all the more powerful by a lyric (and strong vocal performance from Scott Wardell) that offers a lifeline to those struggling with mental health or emotional issues ("I'll be watching over you, and you'll find yourself again… if you just get out of this rain" sings Wardell with emotive purpose).
'Addiction,' which drives along on a staccato riff and some cleverly interjected "yeah yeah" and "woah-oh" change-up parts (the band and Dave Boothroyd clearly spent a lot of time on arrangements and how to bring out the best in each song) is another winner, right through to its heavy, rock-metal riffage conclusion.
'Broken Dreams,' featuring an angry-edged Andy Jackson lead vocal (which helps capture the essence of a lyric about breaking free from a trapped relationship) is another hard driving number with a hook chorus that, in a different time and space, would be arena rock bound.
'Desires' is the album’s heavy AOR moment, clothed in the band’s contemporary rock clothing.
Preceded by Gary Busey’s gone viral line "I buy honey and I kiss it on the lips!" (hey, each to their own desire), featuring a cute little Middle 8 and, 'like Addiction,' a weightier rock metal sign-off, 'Desires' is geared for commercial rock radio airplay. A nicely contrasting highlight.
Further contrast, and lighter shade, is provided by 'Coming Home to You,' a southern-tinged power ballad with a nice harmonised chorus and a sympathetic/ perfectly dovetailing guitar solo.
The piano and backing chorus outro is a particularly nice touch.
Schmaltzy? Perhaps, but it’s delivered with aplomb and a genuine sense of sincerity.
While This House We Built was a strong offering that sat upon pretty firm foundations (pun fully intended), it also played as a multi-faceted introduction to a band still shaping their own identity, with all their influences to the fore (which, through each individual band member, range from American melodic rock and British classic rock to nu-metal and punk).
Three years on, with a number of significant festival appearances under their belt and having been out on the road with the Quireboys, Those Damn Crows, Danny Vaughn (a champion of the band) and Tyketto, among others, the band have honed both their sound and skills to deliver Get Out Of The Rain, a contemporary, cohesive work that has benefited from working with producer Dave Boothroyd (who also provided some creative guidance and a few lyric writing assists).
Opening number 'Rain,' following a brooding, rhythmic first stanza, builds to a more melodically shaped piece of high-class contemporary rock with cleverly utilised, Gregorian styled backing vocals and a huge hook chorus.
The song is made all the more powerful by a lyric (and strong vocal performance from Scott Wardell) that offers a lifeline to those struggling with mental health or emotional issues ("I'll be watching over you, and you'll find yourself again… if you just get out of this rain" sings Wardell with emotive purpose).
'Addiction,' which drives along on a staccato riff and some cleverly interjected "yeah yeah" and "woah-oh" change-up parts (the band and Dave Boothroyd clearly spent a lot of time on arrangements and how to bring out the best in each song) is another winner, right through to its heavy, rock-metal riffage conclusion.
'Broken Dreams,' featuring an angry-edged Andy Jackson lead vocal (which helps capture the essence of a lyric about breaking free from a trapped relationship) is another hard driving number with a hook chorus that, in a different time and space, would be arena rock bound.
'Desires' is the album’s heavy AOR moment, clothed in the band’s contemporary rock clothing.
Preceded by Gary Busey’s gone viral line "I buy honey and I kiss it on the lips!" (hey, each to their own desire), featuring a cute little Middle 8 and, 'like Addiction,' a weightier rock metal sign-off, 'Desires' is geared for commercial rock radio airplay. A nicely contrasting highlight.
Further contrast, and lighter shade, is provided by 'Coming Home to You,' a southern-tinged power ballad with a nice harmonised chorus and a sympathetic/ perfectly dovetailing guitar solo.
The piano and backing chorus outro is a particularly nice touch.
Schmaltzy? Perhaps, but it’s delivered with aplomb and a genuine sense of sincerity.
'Crash N Burn' announces itself as the album’s dark and brooding contemporary rock-metal moment; the slightly unsettling drum patterns and shifting shape between verses and heavyweight choruses add to the song’s dynamic.
The staccato riffed, AC/DC styled 'It’s Only Rock N Roll' is, sadly, an utterly throwaway moment.
It will however, serve better purpose in the live shows, where the air punching audience can join in with the "It’s only fucking rock 'n' roll but we like it!" shout-out choruses.
Street Racing number 'Wheels' is another hard driving (natch) rocker, but the lyric and "citizen’s arrest" breakdown part only help to make the engine of this one misfire, rather than hit overdrive.
All is redeemed across the final three tracks where both album and band regain their rock solid foothold, starting with 'Better Man,' a contemporary rock ballad that, like 'Coming Home To You,' is delivered with both musical purpose and lyrical sincerity (there’s also some great use of light and shade on this number, along with some clever production techniques, including what sounds like a short excerpt from the acoustic demo).
'One By One' is the album’s second AOR moment (think Bon Jovi had they been British and more contemporised) and the second lead vocal outing for Andy Jackson. Like 'Desires,' you can imagine this one on U.S. rock radio rotation.
The album closes out on the semi-anthemic 'Drifter.'
Opening with Scott Wardell’s reflective, harmony backed vocal, acoustic guitar and subtle strings, the number then builds into something akin to Jeff Lynne had he decided to reshape ELO as a contemporary rock band.
A great finish and an album highlight.
Get Out Of The Rain is, other than a couple of missteps, an accomplished and highly impressive second outing from an equally impressive contemporary rock quartet.
Long may their house stand.
Ross Muir
FabricationsHQ
The staccato riffed, AC/DC styled 'It’s Only Rock N Roll' is, sadly, an utterly throwaway moment.
It will however, serve better purpose in the live shows, where the air punching audience can join in with the "It’s only fucking rock 'n' roll but we like it!" shout-out choruses.
Street Racing number 'Wheels' is another hard driving (natch) rocker, but the lyric and "citizen’s arrest" breakdown part only help to make the engine of this one misfire, rather than hit overdrive.
All is redeemed across the final three tracks where both album and band regain their rock solid foothold, starting with 'Better Man,' a contemporary rock ballad that, like 'Coming Home To You,' is delivered with both musical purpose and lyrical sincerity (there’s also some great use of light and shade on this number, along with some clever production techniques, including what sounds like a short excerpt from the acoustic demo).
'One By One' is the album’s second AOR moment (think Bon Jovi had they been British and more contemporised) and the second lead vocal outing for Andy Jackson. Like 'Desires,' you can imagine this one on U.S. rock radio rotation.
The album closes out on the semi-anthemic 'Drifter.'
Opening with Scott Wardell’s reflective, harmony backed vocal, acoustic guitar and subtle strings, the number then builds into something akin to Jeff Lynne had he decided to reshape ELO as a contemporary rock band.
A great finish and an album highlight.
Get Out Of The Rain is, other than a couple of missteps, an accomplished and highly impressive second outing from an equally impressive contemporary rock quartet.
Long may their house stand.
Ross Muir
FabricationsHQ