UK pop band The Vamps
released their debut album back in 2014, complete with songs like "Risk It All" and "Somebody to You," allowing for a general loving atmosphere throughout the album. It's understandable that an act of this type would somewhat play it safe in the beginning of their career as they develop a feel of their audience and demographics. We saw this same thing with Ariana Grande, as well as Miley Cyrus–when your audience is predominately young girls you have to be cautious about how your music reflects on yourself and the kind of messages you may be passing on. This may not sound like a desirable situation to be in, but the best way to look at it is that your fans grow with you. They're changing at the same time as their favorite artists are, especially when these artists are fairly young themselves. This would explain why now, three years since Meet the Vamps
, and two years since Wake Up
, we feel like we're meeting The Vamps all over again on Night and Day (Night Edition).
The night edition that was released this past Friday is made up of 10 songs that act as part one of their two part third album, with the second part (day edition) being released later this year. I'm not sure what it is about the nighttime that attracts The Vamps so much (there is so much potential for a vampire joke here, but I won't make you all suffer through reading that), but from the looks of their track "Last Night," from Meet the Vamps,
and "All Night" as well as "Middle of the Night" from the night edition of Night and Day,
the day time just really isn't their thing as of yet. That's okay though, because they do a brilliant job of capturing the essence of nighttime living by allowing this first part to be easily split into two parts in itself: a melancholic 10pm and a reckless 3am.
When you're chilling out and listening to music around 10 o'clock at night, the tracks you gravitate towards tend to begin to become slower and sadder. Why, you ask? Well, because that time of night is when you really start thinking about your life and the mistakes you've made, and you start getting in your feelings and need music to go along with your suffering. The Vamps' 10pm soundtrack consists of 5 songs about regrets and romantic screw ups. We start with the slowest of the bunch, "Paper Hearts," where lead singer Brad Simpson confesses to a former lover, "I've written you this letter like a hundred times to start a conversation that we should have had that night." From this heartbreak, we move on to "Stay" and "Same To You," both tracks in which the singer accepts that he's messed up, and even screams this fact at the top of his lungs in "Stay." In "Same To You," a slight switch up occurs when the former lover moves on to someone new–and Brad can't believe that it's true. Nice of denial to join us on this fine, sad night. Now, we welcome good old memories to that party in "Sad Song," where the lover spills his regrets of not keeping in contact with the girl he loved, and apparently never stopped loving, as he recalls how happy she made him. It isn't until we get to "Middle of the Night," The Vamps' collaboration with producer Martin Jensen, that we see the lover reach out to his ex in the form of a drunk call in the middle of the night when he can barely get his words out. Nice one, Brad. Relationships are a good idea until they end and you end up writing songs like these.
While the first part of the night may be filled with somber thoughts and emotional outpours, post 2am hours are all about dancing around like you have nowhere to be the next day. To help usher in this feeling, we have "Shades On," where the lover starts to move on from his ex, stating that he's feeling like a new man already. This newfound confidence is enough to get our singer back in the game in "It's A Lie," a tropical pop banger with Argentinian singer TINI, but it appears as though he'd ended up back in the mind of the girl we thought he'd just moved on from. Can we all collectively deep sigh together for a moment? In "It's A Lie" both lovers hear their 'song' on the radio, and in "My Place" we see an invitation extended from the singer to the lover for her to come home with him, after which he pleads to her, "Baby say you're home." Things seem to be looking up for this seemingly messy relationship, and as "Hands" suggests, the problem stems from conversation. In this collab with Sabrina Carpenter and Mike Perry, the lovers decide to just communicate through touch, which is the best way to keep their relationship from falling apart yet again. Not the healthiest coping mechanism, but you know, whatever works for them. It all comes together in the end with "All Night," The Vamps' killer creation with iconic DJ Matoma. The two lovers have spent an entire night together, and we see our singer get back into his feelings a little as he confesses, "I never seem to get it right but I guess that's how it goes, ever since you came around can't nobody hold me down." I guess they're meant to be after all, and hopefully the day edition of this album shows them progressing in a positive direction.