Passenger band hot8/3/2023 ![]() ![]() The verses give detailed scenes involving a heartbroken man dealing with his breakup. The chorus describes situations in which one does not appreciate what he/she has until it is gone, and relates this to love. The lyrics of the song are poetic and melancholic, describing the regrets associated with ending a relationship. In 2014, the song was nominated for the Brit Award for British Single of the Year, and won Passenger the British Academy's Ivor Novello Award for Most Performed Work. As of July 2014, it has sold over one million digital copies in the UK, and over four million in the US. The song became a sleeper hit, achieving international success and topping the charts in many countries around the world. "Let Her Go" was released on 24 July 2012 as the second single from Passenger's fourth album, All the Little Lights. The recording features Australian musicians Stu Larsen, Georgia Mooney, Stu Hunter, Cameron Undy, and Glenn Wilson. It was recorded at Sydney's Linear Recording and co-produced by Mike Rosenberg (a.k.a. They wouldn’t understand." Let Her Go" is a song recorded by English singer-songwriter Passenger. So if you’re looking for a new band to check out – a band whose obvious passion and musical prowess shines through with crystalline clarity - and aren’t a slave to restrictive genre boundaries and common convention, then why not give this one a try? While The Passenger isn’t a perfect album by any means – the two interlude tracks don’t really add anything to the overall package, and there’s definitely a sense that some songs (mainly those in the back half) shine brighter than others – it’s hard to deny that its strengths vastly outweigh its weaknesses. ![]() This added vim and vigour carries over into the second half of the album, helping both “Face of the Villain” - with its red-hot rhythmic hooks and roaring, passionate vocals - and the muscular-yet-multifaceted strains of “Foothills”, raise their game, before the rapid-fire riffery and moody melodicisms of “Before I Rest” bring things to a suitably striking close. Guitarists Dave Carr and Travis Hein continue to shine during the dynamic, melody-driven Prog-Death of “Nailbiter” and “White Coals” - which also gives bassist Jordan Kemp some welcome time in the spotlight too – while “You’ll Always Look the Same To Me” ups the ante (and the intensity) a step further, and represents the band at their absolute best. Opener “Bottom Feeder” serves as a fantastic introduction to the band’s sound - all gritty, growling vocals, surging, pulsing guitars, and dark, evocative melody lines, powered and propelled by the proggy percussive power of drummer Jeremy Gilmartin – so it’s no surprise that this was selected as the album’s first single/video (which you can see/hear below). So I’m seriously wondering how best to refer to the music of Vancouver virtuosos Neck of the Woods so as to alienate the least amount of people?Ĭiting bands such as Between The Buried and Me, Opeth, and Gojira amongst their primary influences, the nine tracks which make up The Passenger offer a riveting blend of big riffs, big grooves, and equally big hooks which should readily appeal to fans of similarly Prog/Death-inspired acts like Iron Thrones (RIP) and Black Crown Initiate. And if I even mention the whole “Post-“ thing… well, you know the rest by now. If I call something “Death Metal”, there’s bound to be someone who’ll assert that the band in question aren’t “real Death Metal”. Let’s face it, if I refer to something as “Black Metal” there’s always going to be someone ready to jump down my throat because the band in question isn’t “true”. ( Andy Synn reviews the new album by Vancouver’s Neck of the Woods, which is set for a September 15 release by Basick Records.)Īs a writer/reviewer/opinionated asshole, I’m very aware of the effect that using the wrong words – particularly when it comes to genre terms – can have in a review.
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