The One That Could Have Been is the new album from band Kill The Waves and it is ideal for those who favour their music strong and emotional; however will also be suited to those who enjoy modern indie with a twist of more vintage, 80’s techno/electronica sounds.
The record opens with ‘Oak Tree’, featuring a succession of chime-like tones, which build into a fusion of instruments and sounds, introducing us to the style that will explored in the album.
There is no lack of emotion with regards to the vocals, which add to the track’s intensity and these striking vocals continue throughout the album.
‘Mine’ alters the direction with increased energy and combines an influence of techno-pop alongside one of the band’s core styles – indie rock.
This track does not appear to follow a set structure, but this increases the livelier feel to the track.
However, The One That Could Have Been’ is stripped back a great deal, allowing the haunting vocals and lyrics to take centre stage.
As this is the title track, it is the one that we can rely on display exactly what the album is trying to achieve.
“She was the one that could have been,” is repeated several times throughout, hinting that this album could possibly be dedicated to this anonymous “she” who is mentioned.
This helps to put Kill The Waves’ intense musical style and melancholic lyrics into perspective.
One example of the strong vocals and hard-hitting intensity of the band is closer ‘Part 2’, in which noticeable vocal heights are reached.
It is a moving track, with eerie violin alongside choir-like harmonic vocals and concludes the album in slightly unsettling, but beautiful, way.
There is clear influence drawn from bands such as The Cure and Depeche Mode, however there are also aspects of Kill The Waves that are similar to modern bands such as White Lies and The Twilight Sad.
The One That Could Have Been is a dramatic and impressive album and sparks intriguing new things to ignite from Kill The Waves.
Words: Orla Brady