Ansonsten bemüht sich das Quartett, bestehend aus Matthew Whitehouse, Joseph Kondras, Ryan Wallace und Chris Deakin, um reichlich Abwechslung auf "We May Yet Stand A Chance": theatralischer Bombast-Pop ("Robert Jordan") steht neben folkiger Ballade mit leichter Country-Schieflage ("Fair Stood The Wind") steht neben 50er Jahre Rockabilly ("Man Overboard") und dazu gibt es groß aufspielende Streicher ("¡No Pasarán!") oder auch Flamenco-Einflüsse ("This Is Not Entertainment").
There have already been some cracking standout singles from this album – Hey, Hey Lover and Absolved. Both are uniquely charming, with the former a desperate tale which harks the album title in its chorus. Absolved is a thoroughly more uplifting experience, both in terms of tempo and percussion, but upon repeated listening proves to have the same dark undertones which run throughout the album.
Robert Jordan is a monumentally sombre affair which starts off empty and downtrodden and somehow turns into a potential bond theme with the addition of some strings.
In a rather contrasting turn of events ¡No Pasarãn! is a far more gung-ho, 60s track, whilst This Is Not Entertainment alters things again, as it exudes more latino beats and acoustic melody. The social commentary on the latter makes it stand out as this generation’s That’s Entertainment.
Despite there being a similar mid-tempo to each song, We May Yet Stand a chance is certainly not short of variety and versatility in terms of influencing genres and tales to be told. However the mix is consistent enough that it doesn’t feel like The Heartbreaks are lost. No, quite the opposite in fact – they are flirting with possibilities well within their limitations as they hover around a genre which has needed a kick up the backside in the last few years.
There’s no denying it, The Heartbreaks are absolutely mesmerising storytellers. Clearly standing alongside fellow northern lyrical geniuses like Morrissey and Alex Turner, it surely can’t be long until they reach the same dizzy heights of fame. We May Yet Stand a Chance holds it’s own as a great alt-indie album, but combined with the social commentary and messages it sends, could prove to be a real marker of our generation.
(More Than The Music)
The Heartbreaks’ new album We May Yet Stand A Chance is a beacon of clarity in a sea of mediocrity. In a time when bottom-feeding drivel dominates the popular music charts, four lads from our little seaside town have revealed a work of depth and social conscience.
We May Yet Stand A Chance is a cracking pop album, no doubt, but the lyrics, theme and versatility are what set it apart. Grandiose in parts, introspective in others, We May Yet Stand A Chance is a far more developed and cohesive beast than the group’s 2012 debut Funtimes.
Whilst Funtimes rarely deviated from a formula of good-time melodic pop, this explores everything from Motown soul to Latin guitar, even the Wild West. At times, singer Matthew Whitehouse’s spectacular vocals make the hairs stand up on the back of the neck. Through his lyrics, drummer and chief songwriter Joseph Kondras makes chillingly bold and accurate statements about changes in modern culture and our way of thinking. The guitar wizardry of Ryan Wallace and bass of Chris ‘Deaks’ Deakin underpin a satisfyingly meaningful piece of work.