Third time’s the charm for The Bravery’s latest, Stir The Blood, written in an abandoned church in the woods of upstate New York. Awash in echo effects and 80′s revival synths reminiscent of The Cure and Depeche Mode, the band returns with a dark party album that maintains an up-tempo and inspiring vibe. First single, “Slow Poison,” released in September, boasts eerie vocals and romantic dance charm, while “Adored” is a glossy rock tune with strong guitar riffs, a healthy dose of synths, and vocals that recall Ian Curtis.
“Hatefuck,” which succeeds in blending raw sexual aggression and hooky punk melodies, is both dark and memorable. Singer Sam Endicott’s lyrics, “I show no mercy for you, you have no mercy for me, the only thing that I ask, love me mercilessly,” brim with desperation and details of a relationship gone very wrong. (The video, directed by bass player Matt Hindert, has strong sexual and violent imagery, leading to media attention from the National Federation of Parents and a ban from the band’s label, Island, so you know it’s a keeper). “She’s so Bendable,” also written by Hindert, is a 50′s inspired slow dance song, revealing quite a different side of The Bravery. Steeped in haze and dreamy vocals, it’s a new direction that will pique fans’ attention, while the Duran Duran-esque “Jack O Lantern Man” opens with haunting keys and a propulsive combo of influences stemming from Joy Division and New Order. Meanwhile, a top pick on the album, “Red Hands and White Knuckles,” rocks new wave pop and retro drum machine beats. Topped with Endicott’s trademark dramatic crooning and fluid choruses, this should become a dance hit.
It seems like it’s been ages since The Bravery were feuding with The Killers for the synth-rock crown. Though the Killers may have won the first round, The Bravery have taken over the fight with this release. Stir The Blood is a strong comeback for the band, both lively and dark, with edgy post-punk and goth influences meshing the best rock elements that came out of Britain in the mid 80′s.–Aishah Roberts
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