Maroon 5 and The Script – V and No Sound Without Silence | Double album review | Music

The Script and Maroon 5 double album reviewIt’s not every day new albums come out which you actually care about. Unfortunately there just aren’t enough hours in the day for me to ramble about them all (far less than usual actually, sorry about that lone fan), and so slamming two together in what could be described as, but isn’t really, a head-to-head seemed like a fun option.

The reason Maroon 5 and The Script together sit together nicely is because they are bands in similar areas of the industry (though the Maroon 5 boys have a few more years and albums under their belt), but they are different enough to listen to back to back.

Maroon 5 – V

Maroon 5 - VWith their fifth album – however did you guess… – the boys have taken the dancier sound from Overexposed and refined it, bringing a bit more instrumentation back in as well as using more of their layered vocals from Adam Levine which made Songs About Jane stand out.

Opener and lead single Maps is a perfect blend of the band’s catchy melodies and memorable guitar style. There aren’t many bands who can get away with repetition, even in a clearly pop-focused single, but Maroon 5 are excellent at taking a simple idea and elaborating on it through a song, driving it forward.

Animals continues the theme in style, before It Was Always You mellows things out a little, dialling up the dance beats a notch.

Levine’s vocals contain some of the highest notes we’ve heard and his various grunts and oohs build to screeches as the music swells, but in a way which refuses to step over the line into a piercing noise, similar to how Michael Jackson got away with it on many tracks.

Maroon 5 - VWith a mixture of ballads with a beat and catchy numbers, the rest of the album plays out much as you might expect, with the odd 80s nod in the synth drums. It’s a collection of songs that hangs together well without any sticking out too far, but it may prove too middle-of-the-road for some as a result.

No doubt there are top ten hits here waiting to be unleashed (so many in fact, that you could easily make a sweepstake out of it), but it’s only a small step from Overexposed compared to where the band began the consistency has improved but undoubtedly the edginess that made them most endearing when they crashed onto the scene has dulled slightly.

That said there’s an awful lot to enjoy on this album, particularly for crowd singalong moments, and where Overexposed dragged its heels in the middle and became uninspiring, V never does.

The Script – No Sound Without Silence

The Script - No Sound Without SilenceThe fourth album from the Irish pop-rockers is a similar continuation on a theme, with the catchiness and excitement of #3 taken up a notch with lead single Superheroes. First track No Good In Goodbye has some excellent plays on words, including “Where’s the us in trust gone?” and “Can’t take the ache from heartbreak”, cementing the band’s position of one of the best lyrical groups in the charts.

The sound overall has good mix of upbeat and more reflective songs, far more laid back than V certainly, but you do find yourself longing for one more singalong classic along the lines of Breakeven or The Man Who Can’t Be Moved.

There are influences here of other bands like Coldplay, Bastille and even The 1975, but never more significant than the odd moment.

The themes of the songs are still quite personal, but generally more aspirational and uplifting then they have been in the past. The Energy Never Dies and It’s Not For You both insist that you don’t have to take the situation you’ve ended up in and leave it at that, instead you can at the very least choose your attitude to it.

The Script - No Sound Without SilenceMusically the band’s use of piano is much more natural this time, but otherwise it’s hard to find many stand out moments, it’s more just that the entire mix – particularly the interplay of vocals between all three of the brand members – is really impressive and at several moments really makes the tracks something special, to the extent that you can feel the odd goosebump.

It might not have as much ammo for the charts as previous efforts but the songs are well crafted and fit together beautifully, creating an album you can just sit back and relax to or jump around the room with here and there.

In short, both these albums deserve your attention, do yourself a favour and at least pick, but, if you know what’s good for you, choose both.

James Michael Parry

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