It sometimes seems impossible for anyone to talk about anything Deaf Havana do without mentioning “That Lineup Change”. It’s understandableĀ ā it was a major event for any band and is possibly one of the best examples of how to handle losing a vocalist ā but to continue to dwell on it does a disservice to the superb catalogue of music they have built in the eight years since. With two top ten albums under their belts since 2013, they have shown impressive growth, and aren’t letting up as they prepare to release their fifth album only 18 months after ‘All These Countless Nights’.Ā
‘Rituals’ brings a change in direction for the Norfolk group, with front man James Veck-Gilodi stating that the new material āmight alienate some peopleā. The first few singles have made clear that they are moving towards a more commercial pop soundĀ ā and while it’s bound to meet resistance from some older fans, if done right, there’s huge scope to attract a new wave of listeners.
Setting the tone immediately, a choir-led intro track is jolted suddenly into lead single āSinnerāĀ ā and although the transition could probably be a little smoother, itās easy to forget once immersed in this joyous tune. A positive acceptance of human failures accompanied by handclap moments, delicious basslines and a gospel choir, it’s certainly poppy, but it’s not a significant departure from the Deaf Havana we’re familiar with. Ā
That pop music is somehow a lesser genre can be a common opinion among a certain type of guitar music fanĀ ā and no doubt comments of a similar sort will be aimed at ‘Rituals’Ā ā yet the crafting of a truly great pop song in an over-saturated market is an art in itself. Through the first half of the album, Deaf Havana prove they have the skill to do just that. The style may have changed, but their honest, storytelling lyrics remain, full of the soul Veck-Gilodiās vocals bring.
Musically, itās atmospheric, radio friendly, and frequently upbeat – there are times, though, where thereās an over-reliance on the kind of vocal effects that are already inescapable in modern pop (thanks, Skrillex). Songs like āHolyā and āFearā are essentially the aural love children of Bastille and Justin Bieber ā not that this should be considered a bad thing, but itās not going to be for everyone.Ā
A more familiar Deaf Havana sound makes an appearance on a few tracks ā particularly āEvilā and āSaviourā, though the rhyming of āsave youā and āsaviourā in the latterās chorus is clunky, to say the least. By the time twelfth track āSaintā rolls around, the pace has dropped off considerably and itās difficult to keep interest; fortunately, the beautiful harmonies and return of the gospel choir make this a superb song to close with before the epilogue-esque ‘Epiphany’.
āRitualsā is not an album without flaws. Dotted with forgettable tracks and a tendency to border on repetition in places, it isnāt their finest work ā it has the feel of being rushed, which is perhaps not too surprising considering the short space of time it was written and recorded in. When itās good, though, āRitualsā is truly brilliant; thereās more than enough reason to be excited by this new chapter in the Deaf Havana story.Ā Ā
GEM ROGERS