Haven - 'Between The Senses' (Radiate)
3/5
By: Toby L
The latter part of 2001 up to the opening of 2002 seems like the golden period of debut albums. Quite clearly, new talent is on the increase again. Yet, this can be dangerous.
Why? Well, what happens to those that get overshadowed by other acts' work: where will they end up? There is an argument that says those which stand up by themselves and gain notoriety will be deserving of praise and high sales. However, history has proven that many records become forgotten classics, admired far too long after their arrival. In the case of Manchester-based Haven and their first full-length release, though, it seems that things could turn out positively for them - and very quickly too.
With high airplay and rave reviews leading up to the release of their third single proper, 'Say Something' - not to mention top production-duties from the likes of Smiths' guitarist Johnny Marr - everything seems to have aligned itself accordingly for Haven to triumph. Now, with the release of 'Between The Senses', it as if it's Judgement Day: can they live up to the emotional intensity and anthemic nature of prior singles for a full fifty-five minutes? Actually, you'd expect that they couldn't - but they have.
It opens with 'Beautiful Thing', a track released in the summer of last year, and it sets proceedings off in the right context: overpowering, exciting and somehow touching. Few parts of the album manage to maintain such a pulse, though each of the twelve tracks on offer are far from plod-rock; the harrowing chorus and haunting vocals from Gary Briggs on 'Out Of Reach', complete with stadium-guitars from Nat Wason, unusually prominent bass from Iwan Gronow and Jack Mitchell's sturdy sense of rhythmic drumming, certainly point towards an edge in their sound. Indeed, the closing number 'Holding On' is a bizarre choice of a conclusion, which is more reminiscent of prog-rock and Elbow than the catchy and moving love songs otherwise displayed on the LP, though such an open-minded delivery of strong material indirectly warms you to them even more.
All in all, however, the nature of the beast on this record is basically well-written and strong-structured ballads, not drowned in too many acoustic guitars, thus making it sound more astute and active than nearest comparisons Coldplay or Starsailor. Marr's work on getting the band to come across to the listener is successful in every way, and it feels as if much of the music on offer leaps out of your speakers or headphones as the CD spins, allowing such bold efforts as 'Let It Live' to cause a revolutionary uprising, even if you're just relaxing in your living-room.
The record consistently reaches a peak when Gary lets his voice loose as it moves into a soaring flight skywards; he doesn't so much hit the high notes, as pulverise them. When you've got such a talent at this, there are few ways he can go wrong; 'Til The End' and 'Still Tonight' are examples of guitar-pop at their finest - they seriously do not come any better, and - because of that - Travis had better start working on new material to make sure their crown of musical subtlety isn't stolen away from them while they tour the rest of the world.
Amidst all the media-clamour to catch the latest acts that are heading to the top, although Haven may be slightly less showy, they've got the tunes and the passion to sneak to the peak of people's awareness before their contemporaries have even noticed this happening. And, for that reason alone, this is why 'Between The Senses' deserves to be eagerly awaited: music-fans are not going to be disappointed.
Artists in this article: Haven
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