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Having made the transition from cult success to daytime XFM staple, Welsh rockers Kids In Glass Houses have the spotlight on them more than ever before. Second album ‘Dirt’ represents a big moment for the Valleys five-piece as they bid to build on the momentum generated by their 2008 debut, ‘Smart Casual’.
With its catchy hook and a delicate intro, it’s easy to see why the lads chose ‘Matters At All’ to be a lead single from the record, needing to make an impact in a world of ‘mainstreamo’ already being dominated by the likes of You Me At Six and All Time Low.
Indeed, the track proves to be the album’s stand-out offering, demonstrating that KIGH can deal in big choruses and angst–ridden melodies with an ease which few of their competitors can muster.
It must be said that Aled Phillips’ vocal style is still achingly similar to that of Bert McCracken from The Used and there’s even the odd occasion when his words get lost and muffled somewhere between larynx and microphone. There are moments however, (‘Youngblood (Let It Out)’, ‘The Best Is Yet To Come’) when his voice soars effectively over his cohorts’ polished noise.
The upbeat horn section of ‘For Better Or Hearse’ signposts a welcome (albeit brief) change in approach as the album enters its second half, but the main criticism of ‘Dirt’ would be that it tails off somewhat as its latter stages draw near, with the rather overblown ‘Morning Afterlife’ and an oddly hollow-sounding ‘Maybe Tomorrow’ both lacking in spark.
Not only is it a shame that they come across as relative filler compared to the more memorable closing duo of ‘Hunt The Haunted’ and ‘Artbreaker II’, they also disrupt the album’s flow at a crucial time, with the final song’s semi-screams and mad guitar solos ending up sounding like something akin to an after-thought in the overall mix.
Despite the varied bag towards the end, there’s some quality to be heard on the album as a whole, especially if repeated listens are afforded. Although Kids In Glass Houses’ wider musical relevance might be called into question, their way with a pop hook should not. Some will see ‘Dirt’ as Americanised emo by numbers, others will view it as a perfect antidote to the current Fall Out Boy-shaped hole in their lives.
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