Love, loss and the inability to cope, all themes you’d expect to find in a release from Surry’s You Me At Six and Sinners Never Sleep, produced by Garth Anderson (think Biffy Clyro) is no exception. I’m not saying they did it ‘wrong’ with their previous albums, but this time they definitely got it ‘right’.
Kicking things off with the inescapable hit single Loverboy, Sinners Never Sleep kicks off with some swagger and groove in its step. Easily the best track on the album, Loverboy bares resemblance to no other YM@S song ever. Jaws On The Floor was designed to have a fun, ‘summery’ feel to it … remember they are from England. This track falls a bit short of their expectations with lyrics such as ‘let me suggest you do what you do / and I will do what I do best’ establishing a sense of teenage drama, rather than fun.
Oli Skyes joins the team for Bite My Tongue in what appears to be a feeble attempt to stay in the spotlight. But don’t get me wrong; this is one of the strongest tracks on the album as the band transcends genres to accommodate Skye’s ‘talent’.
The pace of the album slows with This Is The First Thing, No One Does It Better and Little Dead though this is where their newfound maturity shines. Frontman Josh Franceschi encourages fans to relate to his woes rather than demanding sympathy, which in turn creates a much more pleasant listening experience rather than just hearing someone whinnying.
Also featured on the album are the unmistakable vocals of Parkway Drive’s Winston McCall. Bringing a much-needed touch of brutality, Time Is Money once again shows the band’s willingness to adapt to different styles and their growth as songwriters.
The album has a deceptive finale, initially taking the shape of a slow ballard with When We Were Younger. At 6:12 you’ll drop in and out, but in the last moments the band pulls it together to deliver an epicness You Me At Six have, until now, kept hidden from us. A very classy finish.
Though essentially clinging to the same themes throughout their albums, Sinners Never Sleeps shows this band’s ability to stick to what they know while also pushing the boundaries oh so slightly. And who cares about Franceschi’s constant need to ’emote’, that’s why we’re listening to this music anyway!
