NO ROOM FOR LIGHT, SELF-RELEASED
The debut album by this independent electro-pop band out of Ottawa had the privilege of being produced by legendary Canadian producer Laurence Currie (Sloane, Wintersleep). With the high production value, this kind of music is like creamy potato soup – the odd person is allergic, but, to most, it’s comfort food.
The band demonstrates complete control and competency, evidenced by opening track “Autumn’s Dead,” which shows off Sarah Bradley’s crisp and powerful vocals. An arena vibe takes over on “Pray for Sound,” but while there are entertaining retro bits on No Room for Light, it seems like overkill on this release. “Monuments” stand outs as one of the best tracks on the album while the overall feel of the release is anthem-esque and reminds me of trendy soundtracks in designer shops. Without doubt, Fevers are killer live, with top-of-the-line stage support and sophisticated production.
It’s important to remember that “perfection,” in its conventionally understood sense, isn’t really what makes for a great band. Some may think that synthesizers have no place in “real” rock ‘n’ roll, but these days rock is anything that is bouncy, loud, flashy, gorgeous and gets people chanting. No Room for Light is upbeat and hopeful while seemingly vying for a spot, however, minuscule in the annals of commercially viable dance music. It’s cool that they try to blur genre lines. Fevers clip intriguing and cheesy bits from the obscure, wild, minimal and oddly mysterious synth-pop era.
By A. ElvanAB, Alberta