Hailing from Scotland, The Mirror Trap are no longer Dundee’s best kept secret. The quintet have recently come to light with the assistance of Brian Molko’s (Placebo) exposure that has since shined a musical torch on the lads with their forthcoming record Simulations.
Broadening The Mirror Trap’s audience after a 2015 UK tour with Placebo, their music has assured the band many new fans who will be anticipating the record’s release on the 8th July 2016. Having toured through high scaled festivals and supporting larger names, The Mirror Trap have quickly made a promising name for themselves since their establishment in 2009.
Traveling to Thailand to record Simulations at the infamous Karma Studios, the five-piece have produced a collection of songs that electrify a broad mix of emotion and energies within the ten tracks. The Mirror Trap have adapted new elements to their sound during recording with has been showcased as it paves a new direction for alternative indie rock.
Opening the record with Under The Glass Tower with the fast-paced guitar riffs of Michael ‘John’ McFarlane and Paul Markie, who weave their hooks in amongst each other which fastens the beats quickly as Paul Reilly’s drumming is backed by the weight of Ben Doherty’s bass guitar riffs; front man Gary Moore varies his vocal ranges and lyrical content as he growls through to the ending verse while bellowing “what are you waiting for” to finalise the opener. The song is a hard-hitting opener and sets the expectation of what is to follow.
Track number two, New Trance, allows the record’s flow to change direction as No I.D slows down a little bit which allows Moore to catch his breath in verses between the full-frontal choruses. These tracks express a lot of emotion that is again backed by strong musicianship within the band.
Something About Forever hits home and I become “lost in time” with Moore’s lyrics, expressing heartache through the hooking guitars. Reilly holds a fast drum pattern, with quick fills that ensure the beat is again completely fulfilled through Doherty’s bass guitar riffs. Before finalising his lyrical context again with “it’s alright”, Moore’s powerful lyrical choices make blissfully forceful vocals causing waves to move into their promising single Piranhas. A heavier, slower, yet fast-paced melody enhances the band’s darker aura that builds up to the gnarly lyrics of “I love her. I hate her. I couldn’t live without her. I think I might kill her so no one else can have her”. Swimming around a haunting chorus of frustration and hard-hitting chords, the hook is prominent within the opening bars. Moore really emphasises his vocal talents within the passive number that progresses the record forward.
A favourite track off the album, Second Life, covers the ground of so many prominent themes in alternative rock music. Though with Moore’s distinct tone and content, a new dimension is added to the track within its 3:18. A slower introduction is brought up to speed quickly as the song ignites with Moore’s vocals. The instrumentation of the song holds the weight to support its force and channels through questioning as the beat hammers along to many memorable lyrics of this potential new life.
Resonating strongly with Simulations, the record then continues into Muscle Memory before ricocheting out with the final track, Bleach Your Bones. The tenth track’s bellowing contents concrete the record’s perfection that makes it a noticeable force within the alternative British rock scene and beyond.
With upcoming tours planned for the UK, The Mirror Trap are a promising act that one should be sure to keep an ear out for.