Nothing But Thieves
Broken Machine

THE REVIEW

The debut of Nothing But Thieves (rightly) attracted a lot of attention from the public and specialized press, even breaking into the British top ten and garnering decent attention in the USA (not an unheard-of achievement for an overseas band).

Now is the time for Conor Mason and his bandmates to prove themselves with their second studio album. "Broken Machine," produced by the experienced Mike Crossey (previously working with Arctic Monkeys and Twenty One Pilots), was recorded in California, a choice that likely influenced the acquisition of a more "Americanized" sound compared to their debut album.

The two singles that preceded the album perfectly describe the duality of moods found in the record: "Amsterdam" is a seismic jolt of guitars and vocal evolutions, with a chorus perfect for live performances, while "Sorry" is more delicate and closely recalls (perhaps a bit too much, at least in the second part) "Smile Like You Mean It" by The Killers. The references remain the usual ones, with pre-"Black Holes And Revelations" Muse leading the way.

The first batch includes the devastating opener "I Was Just A Kid," the robust "I'm Not Made By Design" and "Get Better," as well as the curious and pleasantly bold "Live Like Animals." Among the more delicate tracks, noteworthy is the heartfelt homage to the Radiohead era "The Bends" with "Afterlife," the dreamy acoustic sounds of "Hell, Yeah," and the arrangement of the title track, revealing the band's notable taste for more original sound architectures.

The same goes for the closing "Number 13," the most peculiar track on the album, featuring a beautiful riff and a structure that departs from typical alt-rock writing.

Nothing But Thieves prove themselves, aiming to hit the big target (at least ten out of thirteen tracks are potential hit singles) and position themselves as authoritative leaders among the new wave of modern British alternative rock.

Best track: "Live Like Animals"