The Resurgence of Britrock: A Nostalgic Comeback or a Missed Opportunity?

Not long ago, the early-2010s Britrock scene appeared to be on the brink of extinction. Many of its key players had either hit the skids or disappeared entirely, and the genre's perceived lack of passion and shameless commerciality had alienated many "proper" rock fans. However, in a surprising turn of events, a wave of Britrock acts have recently announced their comebacks, reigniting the conversation around the genre's past, present, and future.

Reviving the Glory Days of Britrock

The resurgence of Britrock has been marked by the return of several prominent acts, including The Blackout and Mallory Knox, who have launched full-fledged comebacks in the last couple of years. This trend has also extended to lesser-known bands, with the likes of We Are The Ocean and Canterbury hinting at potential reunions. Even You Me At Six, one of the scene's biggest names, have announced their farewell tour, potentially paving the way for others to step into the spotlight.The renewed interest in Britrock has raised questions about the motivations behind these comebacks. Some suggest that the impending departure of You Me At Six has empowered other bands to make a second attempt at the top, sensing an opportunity to fill the void left by the scene's former kingpins. However, the consensus seems to be that these reunions are primarily driven by nostalgia and the desire to capitalize on the enduring appeal of the genre's most beloved albums.

The Curious Case of Kids In Glass Houses

One of the most intriguing aspects of the Britrock revival is the return of Kids In Glass Houses, a band that was once considered the clear second fiddle to the entire scene. Their recent comeback has been met with a somewhat restrained response, perhaps due to the understanding that this is largely a nostalgia-driven exercise.The band's decision to focus their comeback on the celebration of their debut album, "Smart Casual," has further reinforced this perception. While the album is undoubtedly a strong and enduring work of pop-rock, the emphasis on member-value and the promise of old favorites has overshadowed the importance of any new material the band might produce.

Reinventing or Retreading? The Dilemma of "Pink Flamingo"

Kids In Glass Houses' latest album, "Pink Flamingo," has been touted as a brand-new creative endeavor, a departure from their past work. However, the reality is that the album's aesthetic and sonic approach are not entirely novel. The silky lounge-suit vibe and the alt-rock-to-pop-slickness pipeline have been explored by other acts, such as Don Broco and Deaf Havana, in recent years.Moreover, the album's flirtation with '80s-inspired grooves and the crippling neuroses of modern life is reminiscent of Paramore's "After Laughter." This raises questions about the originality of Kids In Glass Houses' reinvention and whether they are truly pushing the boundaries of their sound or simply retreading well-worn territory.

Embracing the Familiar or Seeking Progression?

While "Pink Flamingo" may not be a groundbreaking departure from the band's past work, it does showcase a tighter and more polished execution of the pop-infused sound they explored on their previous album, "Peace." The album's production values and attention to hooks are undoubtedly impressive, and there are moments of genuine enjoyment to be found.However, the album's reliance on '80s tropes and the band's apparent reluctance to stray too far from their comfort zone raises concerns about their commitment to artistic progression. The album's moments of daring, such as the Genesis-inspired "Have a Good Time" and the Phil Collins-esque "Cold Night," are the exceptions rather than the rule.

Masking the Routine with Shiny Surfaces

One of the most striking aspects of "Pink Flamingo" is the band's ability to mask the underlying routine and workmanlike nature of the album with a shiny, pop-infused veneer. The album's surface-level effervescence and the band's undeniable technical prowess can initially distract from the lack of genuine expressiveness and emotional depth.Lead vocalist Aled Phillips' performance, while undoubtedly energetic, often feels constrained, with the robot filter on "Human Touch" being a particularly jarring example. The album's moments of vulnerability, such as the awkwardly arranged "A Ghost to Live With," serve to highlight the band's struggle to fully embrace a more vulnerable and introspective approach.

The Britrock Dilemma: Nostalgia or Innovation?

The resurgence of Britrock raises important questions about the genre's future. While the return of beloved acts and the promise of old favorites may satisfy the nostalgic cravings of fans, it also raises concerns about the potential for stagnation and a lack of genuine artistic progression.The case of Kids In Glass Houses' "Pink Flamingo" serves as a microcosm of this dilemma. The album's adherence to familiar tropes and its reliance on the band's past successes may provide a sense of comfort and familiarity, but it also raises the specter of a genre that is content to rest on its laurels rather than pushing the boundaries of what is possible.As the Britrock scene continues to evolve, it will be crucial for bands to strike a delicate balance between honoring their roots and embracing new creative directions. The true test of the genre's longevity will be its ability to reinvent itself, to offer something fresh and compelling to both longtime fans and a new generation of listeners.