Seems like it should fit, doesn’t it? That band, (We Were Promised Jetpacks. If you haven’t heard of them, you got some research to do. I got 99 problems, but Jetpacks ain’t one, you dig?), just seems to make my mood go, “ZOOOOOOOOOM,” and turn pleasant, no matter my disposition. There’s just something cathartic about listening to a Scottish guy screaming at the top of his lungs over heavily delayed and fuzzed out guitars, disco beat drums, and some of the most on point bass playing I’ve heard in ages.
At times, it almost seems like the band’s name ought to include a good old fashioned, “Goddamnit,” to seal in the amount of passion in Adam Thompson’s vocals alone, let alone the aforementioned instruments. They skillfully work as a badass team of, at times, seemingly, “Fuck You,” induced Post Punk. It’s by no means a mosh pit band, however. There’s a lot of lower volume, less angsty tracks by this band as well.
No matter what direction they decide to take any given song, I feel it always turns out intriguing, to say the least. For example, “It’s Thunder and It’s Lightning,” off their debut album, “These Four Walls,” is a stellar example of this band’s ability to take a track through multiple phases, progressing naturally, and not get repetitive with it, nor do they leave any part unfulfilled, as some bands have a tendency to do.
I’m halfway inclined to stick them in their own beautiful category of Progressive rock, with the way they can lead a track into so many movements. While not traditionally lined up with the usual technical prowess that that genre typically assumes, the beauty of We Were Promised Jetpacks is in their use of the guitar not only as an instrument, but skillfully as a sonic paintbrush. In a lot of ways, this is the band I wish I always started.
And will someone please get those Scots some goddamned jetpacks.