Because of this, the album doesn’t get boring even when the songs start to run together a bit. The band knows their way around big pop hooks and catchy guitar lines. From here, the song essentially finishes with a two-minute outro jam that isn’t all that compelling.Įverything Changes in the End is an entertaining album.
#Everything changes but you take that full#
That is particularly noticeable after the guitar solo that anchors the full band section. Musically, it’s one of the more interesting songs on the album, but melodically it lacks a bit. It isn’t until after the second chorus, around the 2:30 mark, that the song really opens up.
Even when the bass and drums first come in, their playing is limited for an entire verse. Album closer “November” takes its time, building slowly from a quiet beginning of just vocals and muted guitar to a full band song. “Summer” uses long, decaying guitar notes and big beat drums to go in a poppy, U2-lite direction. “Shout” has a disco hi-hat beat that gives it more of a dance groove, although the shouted gang vocals keep it right in the band’s wheelhouse. Vistas take other minor steps to keep every song from sounding like a virtual clone. It’s an interesting track because it’s maybe the hardest-rocking song on an album full of big rock songs but also the most synth-heavy. Once the song hits the chorus, it has a distinctive sound because the synth doubles the vocals. Then everything but the drums drops out while the vocals drop in for the first verse, and guitars and synths come back gradually. “Tigerblood”, on the other hand, starts at full blast, featuring a prominent theremin-like synth line. It also features a break with repeated “Hey! Hey!” shouts and even a brief guitar solo. “Sucker” slows down the tempo a bit, which allows the refrain to be drawn out for maximum impact. The boisterous, wordless gang vocals and hard-charging, noisy chorus of “The Love You Give” recalls a poppier version of fellow Scots Dananananaykroyd.Īt times the band does change things up slightly. “15 Years” uses the same fuzzed-out, ringing guitar and backbeat-heavy drums as the Strokes’ “Last Nite”, which itself took the sound from Tom Petty’s “American Girl.” It’s a rock-solid base for a song, but more than a little familiar. Sometimes their influences are more specific. That is essentially the formula Vistas follows throughout the record. There are driving drums and “You ooo” backing vocals in the chorus, and it’s equally upbeat and enjoyable. This trend continues into the next song, “Teenage Blues”, which starts with loud vocals and quiet instruments until exploding into the pre-chorus after 30 seconds and then into the real chorus directly after. The song isn’t groundbreaking, and it isn’t an instant earworm, but it’s upbeat and enjoyable. Robertson’s vocals are energetic, while the guitar and synths chime and shimmer in the background.
This song has a simple but strong bassline and steady drumming. The album begins with a 40-second “Intro” that’s just a slow fade-up into the title track “Everything Changes in the End”. There is clearly a story there, but for now, in the era of digital releases where liner notes are sometimes hard to come by, Vistas is a trio without an official drummer or keyboardist. The album includes drums and at least a little bit of synth on nearly every track. Their debut album, Everything Changes in the End, is a chunk of bright rock music that mainly pulls influences from power-pop and indie rock. It’s always interesting when a band is missing a key instrument or two in their roster lineup.
Vistas are a trio hailing from Edinburgh, Scotland, consisting of vocalist Prentice Robertson, guitarist Dylan Rush, and bassist Jamie Law.
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