The Luxury’s latest full length album Bones & Beaten Heart is a shimmering piece of artwork. From its opening synth notes to its grand finale of acoustic guitar rock, The Luxury don’t try to imitate any other band in existence. It’s impressive all that they have a lot going on while they entertain the ears with an unusual approach to song structure. Influences likely range from The Beatles, Pink Floyd, and Electric Light Orchestra to more modern rock bands like Snow Patrol. But, they never wear those influences on their sleeves, and their complexity of songwriting makes it very difficult to compare them to any other artists.
The band begins with an ambivalent “Intro,” an instrumental soundscape that uses low end notes, synth notes, and a synthesized string section to suggest a mind set teetering between joy and madness. There’s a huge sense of possibilities as this brief but beautiful piece plays out.
Yet, the boys are only getting warmed up. “In Lieu Of Goodbye,” a rollicking pop rock number, they employ a sweet lead vocal and even sweeter harmony vocals. Their smooth, youthful voices cruise over deliciously delicate guitar notes as well as more rigorous guitar phrasing. Guitar lines seem to face off with each other then dance together. As busy as they get here, the band includes pretty pop piano too, adding another layer of joy.
“Static And Vertigo” bops merrily along on its peppy drum beat. Jittery synth notes and rumbling guitar lines makes this one feel like it’s in motion. And that is only at the beginning of the song. Jason Dunn soon enters their soundscape with a charming pop crooner lead vocal singing over nervous, squirming synth lines. It’s all clever, and it makes you want to hear more of their material. A lyrics that says “You are the last daydream” haunts the imagination as to whether it’s dire and harrowing or just a heartbreaking fact. A tasty guitar line plays peek a boo with the larger sound, and it’s another layer of cool that makes this band more appealing ear candy.
“Ring Around The Ghost” rocks a bit more steadily, with less jittery, neurotic splashes of color all around. Yet, the lead vocal’s plaintive plea, the guitar verve, the keyboard swells, and the adventurous rhythm section amount to a wholly original manner of composing pop rock songs. Unique guitar timbres scream out their angst while organ swirls rise to the surface, all creating a soundscape that cannot be ignored. It rides out with a haunted, psychedelic circus melody that evokes numerous thoughts and feelings.
“This House” offers another beautifully strange approach. Flowing, ecstatic guitar phrases and screamy synth lines pirouette and compliment each other, resulting in another ear tugging sound. Lead singer Jason Dunn coats this well with his unusually smooth, haunted, plaintive vocal. Dunn injects a world of emotions into this, and he likely evokes as many emotional responses from his many listeners. He runs his voice alongside a seemingly infinite guitar phrase, cool, engaging, and mind expanding.
The boys ease their way into “Losing My Time On You.” They approach it with a Beatlesque piano and synth line combined with a thoughtfully self-restrained vocal. The chorus harmony expands the song with bright, inviting colors before subsiding into a synth rainbow. One certain thing is you cannot predict which twist and turn this band is going to take. They’re doing something unique, so guitar phrases, like this one’s swaggering sweet one, can erupt in any part of the song. There is also something special in how the rhythm section pumps it forward with a kind of circular, perpetual motion machine.
“For You Only” is a more mellow soundscape created by Dunn’s soft cooing approach to the song. Beneath his voice is a soft, drifting cloud of sound, part synth, part unusual use of acoustic guitar and some other instruments. This one can evoke a kaleidoscope of moods and emotions, from the positive and negative, as the textures stretch out wide and become all encompassing.
Beginning with an epic swirl of instruments like an exciting movie scene score, “Sleep Through Summer” is an original idea lyrically and musically. Dunn sings likes it’s an anthem while a huge electronic melodic swiftness pulls one along like an out of control dream. The guitar here cuts through the hugeness of it all and carries a torch, meaningfully, for the topic of the song.
“Moment Of Clarity” swings in with motion filled synthesizer sounds swishing around, some light, some dark and foreboding. The soundscape gives nothing away as this piece of washy emotion sashays its way onward. Backdrop vocals haunt this song like a tricky ghost in the walls of a house while stop-start synth lines dare the listener to guess what it’s all about. It is certainly a good segue to the next number.
“Why Don’t You Cry Anymore(Like You Used To)” gallops along with a pop rock beat and carefree bass line. The ever unfurling guitar phrase is another plus. Dunn finesses this one with a slight tenderness in his vocal approach. Only slight, as he keeps this one bustling, busy with his unwavering energy. The boys, here, overall, offer pop rock brightness, just edgy enough to keep it pushy, evolved. This one could be what the radio stations need to hear to help keep this band quite visible as they push their album in other regions.
The Luxury show a bit of their strut during “All I Ever Do Is Win.” As the title indicates, Dunn swaggers in with both attitude and ability. His soft, sweep vocal gets a bit of cocky edge here and a lead guitar phrase makes its presence felt while buttressing the vibe. Its chorus is catchy as hell and its layered atmospheric is heavenly. A band this complex but engaging cannot go wrong.
“Season Of Perfection” showcases a nervous guitar phrase puncturing its way into the atmospherics before Dunn croons with poppy abandon over an infectious beat. Speedy tempos and shifting dynamics make this one catchy, rocking, and involving. There is enough going on in this pop rocker to keep the listener’s ears glued to it until its over.
“You Noisy Thing” has plenty of bleating synth sounds peppering this pop rock confection. An ambitious rhythm section shows its muscular authority rocking this piece forward with swooping force. Vocals, guitars, and synth flourishes are fully intact, doing their part to fill in the song with contrasting, bracing noise.
The Luxury close out with “Nobody With You,” a keyboard driven rocker stuffed with atmospheric guitars and harmony vocals. This one is a heft of rhythm section muscle, melodic guitar joy, and a run of synth magic.
The Luxury have outdone even themselves this time around. They’ve got nowhere to go but up, up in popularity, up in radio play, up in sales. On their way to the top may they take no guff from music label executives and their mindless marketing staffers. Don’t change a thing boys, not matter how much they pressure you.
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