Leicestershire's Kyte seem to spend a large amount of time away from home these days, having carved out a reputation for themselves in Japan. Perhaps this should not be a surprise. The subtle electropop of ‘Love to be Lost’ sounds tailor-made for a sleek, smart Tokyo.
The shoegaze sounds of their earlier recordings have all but disappeared now, replaced instead with a mix of soft keys and gently haunting synths. If Kyte were ever a “guitar” band they certainly cannot be classified as one any more.
In a sense this is the album’s biggest flaw. Where Kyte once soared they now seem to just glide, comfortable enough but somewhat unimpressive. Opener Broken Bones is particularly guilty.
On the face of things it is one of the best songs that Kyte have ever recorded but, despite having a ready-made anthem quality, the moments that should be its high points topple under the importance given them by their creators.
At least the opener doesn’t suffer from the same kitsch nature as the track that follows it, Scratches. A wonky attempt at straightforward pop, it comes replete with dull electro beats to propel things along.
Thankfully that is by far the worst moment of the album and, after a couple more false starts, things pick up in the second half. The likes of Half Alone and the title track are engaging and enjoyable, adding texture and songwriting nous with delightful simplicity.
Still, though, the problems that bug Broken Bones remain. For all the excellent tunes that dominate ‘Love to be Lost’, there is something missing. There just aren't enough peaks to justify the album’s inflated 50 minute running time. Half the songs here feel like they are meant to be world beaters, designed to become so ingrained in your memory that you find yourself inadvertently singing them on a crowded tube train.
Part of the problem might be the vocals of Nick Moon. While he has always had a breathier voice than many might like, here the mix accentuates things to the extent that almost every line sounds slightly exaggerated. Even the best tracks here are slightly underwhelming, hindered by the band's limited tonal palate. A little more variety and a slightly less vocal-heavy mix may have achieved great things. The end result? Close but no cigar.
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