![]() They are able to fluidly combine parts of different volume and force without completely exploiting the idea of the soft-to-loud-to-soft dynamic. The track also highlights Balance and Composure’s newfound dynamic mastery. Relying on the typical verse-chorus-verse arrangement, this song has little to offer in terms of new structural experimentation, but the band is still able to create a song that is an easy listen without losing its energetic feel. #Balance and composure the things we think we re missing full#“Tiny Raindrop” begins with a feedback-heavy guitar coupled with an acoustic guitar that flawlessly gives way to a full band verse and one of the album’s most memorable choruses. The most impressive section of this song lies in the outro as it returns to the slightly distorted clean guitar along with Simmons’ contemplative tone as he eerily repeats, “All you wanted was that feeling” to create one of the album’s most memorable track endings. The transition from single guitar to full-band verse with the fade-in distortion is shaky, but the following chorus is somewhat redeeming. Simmons is also able to articulate how much he has improved with his cleaner vocals, losing the less-tamed “whining” of his vocal performance on early releases and replacing it with a more definite vocal maturity. The highlights of this song lie in its chorus, which combines a pounding drum beat and huge chords with a swaying atmosphere.įeeling reminiscent of “Void,” one of the more haunting tunes from “Separation,” “Back of Your Head” begins with a single reverb-laden guitar that gives way to arguably some of Simmons’ moodiest vocal melodies. The introduction beginning with a slightly-overdriven clean guitar that leads directly into louder section that mirrors the introduction from “Parachutes,” yet this track also emphasizes the band’s ability to create tangent jams that make sense and bring pure energy. “Lost Your Name” comes from a similar vein as “Parachutes,” not expanding much dynamically or structurally from this other track, but still providing its own interesting nuances. “Parachutes” acts as a satisfying introduction to the album, demonstrating the band’s new control of structure and cohesion. The pre-choruses also add a much needed break from the sometimes one-dimensional heaviness this track emphasizes. From the introduction of the lyrics, Simmons highlights his improving vocal performance, delivering emotionally striking vocals saturated with angst that express his freshly acquired vocal control. With a clean guitar introduction that leads into a straightforward full-band jam, guitarists Erik Petersen and Andy Slaymaker are able to introduce their melody-making capabilities. The record begins with the hard-hitting track titled “Parachutes, which sets the pace for the beginning of the album. Under the guidance of multi-genre producer Will Yip, Balance and Composure clearly show on this album they are not a band to rest on their laurels. On this new LP, titled “The Things We Think We’re Missing,” released this past September on No Sleep Records, Balance and Composure hit hard with a self-awareness of their capabilities. In what seems an extension of their 2011 release “Separation,” Balance and Composure work to convey the qualities their name implies, creating a new record that combines the best of their influences to create a culmination of the sound they have been searching for. Living up to one’s name is always a daunting challenge for any artist, especially for those finding themselves caught in the headlights of the “sophomore slump.” However, Pennsylvania-based five-piece band, Balance and Composure, have learned from their mistakes, making sure to tackle this stigma head-on. ![]()
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