Stunning.

‘We Are The Others’ is the delayed third album from the Dutch band featuring feiry-tressed vocalist Charlotte Wessels, and to be quite candid with you, it took until the third hearing for it to really click into place with me. However, after many listens I am able to report that I now believe it is their strongest offering so far.

That it has a different “feel” is no doubt a consequence of using a production team this time around rather than keeping this “in house” and also to following a different, more collaborative, route to the song writing, including modifying the final recordings based upon audience reactions to the new material. Consequently I contend this has lead to a much more balanced identity and uniformity of approach and everything is BIG, indeed HUGE if not MONSTROUS! It is much more direct vocally and delivers what is undoubtedly a darker and more grandiose sound, one that is also apocalyptically heavy at times while retaining the charm and the melody of their two previous albums. Wessels has never sounded better or more confident and time and time again a smile came to my lips as I wallowed in her superb phraseology and stylings. And (as my friend and Fireworks colleague John Tucker loves to say) trust me on this – you will soon be singing along with this collection of infectious songs once you have crossed the rubicon!

The standard version has twelve fabulous new songs, to which are added four live bonus tracks on the special edition. Mine is on order, but as I have not heard them, I will focus on the new studio recordings. They commence with the dramatic, brooding, and rather industrial introduction to ‘Mother Machine’ and one is immediately struck by the scything riffs that permeate the whole song. Fortunately the glorious melodies plus Wessels soaring, clear and dramatic vocals win the day, but it does rather jolt the senses initially. ‘Electricity’ contains anthemic qualities but those heavy riffs still have a presence, serving to counterbalance the gentler moments. Much has already been written elsewhere about the title track; musically it hits the mark immediately and does not deviate. It is an absolute triumph and one of their best-ever compositions and performances.

All the songs have amazing hooks and wonderful catchy choruses and ‘Milk And Honey’ does not deviate from these characteristics, albeit interspersed with more of those heavy riffs. ‘Best Shot’ finds Wessells in superb form while ‘I Want You’ is initially deceptive, with a rippling piano and ballad vocals; but then the rest of the band barge in… ‘Where Is The Blood’ features guest vocalisations from Burton C Bell (Fear Factory) and for a short moment these are somewhat extreme, but work in context. Another five strong songs follow, including the wonderful debut single ‘Get The Devil Out Of Me’.

Quite dark and gothic at times, this is a wonderfully energetic release that could (and should) have broad appeal to many Fireworks and Rocktopia readers. Stunning!

Paul Jerome Smith