Nothing But Thieves
Conor Mason's voice is the obvious attraction on Nothing But Thieves' debut, but the songs are strong enough to keep that voice from becoming the whole show. The band gives him flexible rhythms, distinct guitar figures and melodies with a clear direction. His high register is striking. It matters more because the arrangements know when to support it and when to get out of its way.
“Itch” is a particularly effective example. The guitar briefly withdraws before the chorus returns, leaving Mason's voice exposed at exactly the right point. The pause increases the force of the surrounding music without making the song feel interrupted. “Wake Up Call” has a different kind of lift, with an assured groove and a guitar solo that adds to the momentum. The band is good at putting a small instrumental event inside an immediately accessible structure.
“Trip Switch” makes that skill even clearer. Its riff gives the track an identity before the vocal takes control, while the rhythm stays lively enough to make the repeated hook feel fresh. “Ban All the Music” uses a more forceful attack, and Mason meets it with a sharpness that prevents the high notes from becoming merely pretty. The quieter “If I Get High” and “Graveyard Whistling” provide essential contrast. Their more intimate settings allow emotion to develop without requiring a large display at every turn.
The album sometimes reaches for a dramatic scale before the writing has supplied enough detail to justify it. A few choruses depend heavily on Mason making the feeling seem larger, and that can reduce the distinction between separate thoughts. Even so, the debut has a persuasive range and very few passages that feel anonymous. The best tracks make a voice with unusual ability sound part of a band with equally clear instincts. “Itch” and “Trip Switch” are especially strong because their impact comes from the whole arrangement, even when the singing remains the first thing you notice.
