THE LAST REPUBLIC hail from Wales and play an epic, almost stadium brand of modern rock, with first listens exhibiting a comparable sound to Muse. Vocalist Jon Owen exceeds any Matt Bellamy comparisons though, demonstrating an impressively broad vocal range with a powerful, melodic delivery, sometimes showcasing an influence from fellow countrymen James Dean Bradfield’s more melodic moments.
Album opener and new single ‘CCTV’ begins with driving guitars and drums, before a soaring synth line comes in. It initially startles the listener being quite high in the mix, but the orchestral sounds sweep and soar throughout the songs on ‘Parade’, taking them to lush & lofty heights. ‘Let’s Make Bombs’ exhibits a mininalist electronic percussion beat over synth, piano and vocals, building into some (again, similar to Muse) backing vocals driving into a huge, melodic chorus. In this we can see the formula that many of the tracks follow, the build up of piano and synth into grand crescendos, before cutting back down to the gentle, melodic keys. It’s a formula that works, Owen’s almost haunting voice melding perfectly with the keys, rhythm and subtly complex guitar work. In the choruses the guitar lines switch to high single notes, much like Editors’ guitar work, granting the songs an even larger dimension. Backing vocals are used well throughout, such as in the outro of ‘As Darkness Calls’, the gang vocals on title track ‘Parade’ and the chanting on the breakdown of ‘The Fear’ complimented by Owen’s urgent delivery.
Refreshingly for a band as potentially radio-friendly as The Last Republic, the album’s lyrical concerns are all of a social and political nature, ranging from the war critique of ‘Let’s Make Bombs’ to the surveillance-state scenario of ‘CCTV’ ensuring a social relevancy that lies beneath the colossal songs. Already well on their way to big things, ‘Parade’ is a calling card for a band who are undoubtedly going to be a major part of the UK’s musical landscape.
ROGER HOLLAND