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The Getaway Plan – Requiem

Becci Stanley

Triangle

Debut album following their first trip from Australia to the UK, and a variety of EPs, alt-rockers The Getaway Plan have experiment and twisted their style to come out of their cocoon. in turn creating something entirely new, with mixed messages and in my eyes, a slightly hit-and-miss sound.

Requiem kicks off with The Reckoning, reminiscent so much of What I’ve Done by Linkin Park so much so you expect Chester Bennington to jump in at any second. It’s an utterly atmospheric song, highlighting vocalist Matthew Wright’s unique and husky voice to the best of its ability with hooks and drops so powerful it makes the spine tingle. This blends into Phantoms beginning with a single note being spookily sang by a choir. It’s Wright’s haunting voice once again carrying the song, but this time having more notable aspects to go with it, such as Clint Splattering’s masterful guitar work in bursts that should definitely have been expanded on.

To be honest, the rest of the album sort of blends in to one mesh of piano licks, haunting vocals and beautiful instrumentals in places, though none particularly stand out. Flying Colours demonstrates a tsunami of massive choruses, whilst songs like Move Along and February slow the album right down to create ballads in a way. They possess beautifully intricate meaning woven between every word relayed to the listener, and a more metal styling to the guitar work going back to their slightly heavier roots.

For me, the only stand out track on this album is Oceans Between Us. It’s slow and suave all the way through, and the kind of song you could gently sway along to with all that you know. Wright’s voice is husky and genuinely moving along with the lyrics, a genuine tear jerker if people are into things like that. It contains slight hints of violins along with the acoustic guitars to gently interweave more levels into their new mashed up style.

Requiem however ends the album in a slightly anti-climactic way. It is good don’t get me wrong, but it’s not quite good enough. Where it rises in sound, it doesn’t rise high enough and where it falls, it doesn’t change dramatically enough. It starts slowly until reaching a gradual climax which does raise the song to new levels with a gentle tinkling of piano keys slowly over the top of really fast paced guitar-fingering work. Culminating in a contrasting mix that seems to be the only thing working in this album.

I usually really like The Getaway Plan, but this album really doesn’t do it for me. I respect any bands who try new sounds and this was a valiant effort, but it doesn’t suit their style. If they continue in this direction, it really needs to become more polished and definitive.

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