Lostprophets
The Betrayed

LA RECENSIONE

Problems, waiting, uncertainties, lineup changes. All this surrounded the release of the much-debated "The Betrayed," the fourth album by the Welsh band Lostprophets. First of all, let me start by saying that, at least for once, the so-called "famous words" that are usually uttered before the release of an eagerly awaited album have largely proven to be true. The leader, Ian Watkins, not long ago described the new album as darker and harder than the last "Liberation Transmission" (not that it took much), essentially a return to the past and to the alternative rock and melodic hardcore sounds of their beginnings. In simple terms, "The Betrayed" can be described as a dive into the past with an eye (or even two) on marketing and soft sounds.

Therefore, don't be surprised by the adrenaline of "Dstryr/Dstryr," partly sung with a good scream vein (almost absent in the previous album) by the charismatic leader Ian Watkins. Do not be surprised by chart-topping singles such as the sweet yet not overly predictable "Where We Belong" or the captivating "It's Not The End Of The World, But I Can See It From Here," which is mesmerizing, glam, certainly comfortable and easy listening. All is further positively accentuated by the work of the new drummer Luke Johnson, who replaces the very young and inexperienced Ilan Rubin (who offered very little on the last album). As previously said, a spirited and lively Watkins has returned, and "Next Stop, Atro City" is one of the most impactful tracks on the album, perhaps of the group's entire career, a track that has been proposed live for three years now with excellent performances (as mentioned at the beginning, the wait for this album started a long time ago, since 2007).

The cheerful "For He's A Jolly Good Felon" acts as a watershed for the second part of the album, with episodes that are certainly more emo with a dark touch, all obviously sweetened and made appealing to everyone. Additionally excellent is the work of the keyboardist and mixing man Jamie Oliver, who returns like a few years ago to insert samples at the end of the tracks, as well as offering a substantial contribution in the pop/rock of "Streets Of Nowhere" and "Darkest Blue," another heartfelt, effective, and well-executed track. Everything is closed by an excellent "The Light That Shines Twice As Bright," which in structure recalls the times of "Start Something" and its closing track "Sway."

Certainly, the guys from Cardiff could have dared even more perhaps by reintroducing a hint of acidity, or I would dare say some hip-hop events, all of which have been absent since the first album. Nonetheless, it must be admitted that the work has not betrayed expectations; in other words, "The Betrayed" does not serve as a definitive sellout for money, but neither does it ignore it. In these times, you can't ask for the opposite, they know it, I confirm it, and I give my endorsement to the album, the rest is up to you and those who will listen to it. Preventions and prejudices are discouraged.