Recorded at
Paul Weller's Black Barn Studios and endorsed by the Modfather himself, the sleeve notes of
the Rifles' third studio album,
Freedom Run, suggests the London five-piece have stuck rigidly to the same lad rock formula which has seen them replace
Ocean Colour Scene as
the Jam legend's mod revivalists of choice. However, perhaps inspired by a change in personnel (
Garda's Lee Burgess and Kenton Shinn have taken over from founding members
Grant Marsh and
Rob Pyne), and the presence of
the Verve producer Chris Potter, the follow-up to 2009's
The Great Escape has slightly toned down their trademark attitude and bravado in favor of a gentler, and some might say slightly romantic, indie pop sound which proves that their claims of progression weren't just hollow talk. The sweeping strings, jangly Brit-pop guitars, and triumphant brass sections on lead single "Tangled Up in Love" recall the late-'90s heyday of
Divine Comedy, "Nothing Matters" is a yearning slice of orchestral pop whose spacious percussion, orchestral flourishes, and aching harmonies produce an enchanting
Spector-ish Wall of Sound, while the band embrace '60s psychedelia with encouraging results on the
Hendrix-inspired "Interlude," the sprawling acid rock atmospherics of "Little Boy Blue (Human Needs)," and
the Stone Roses-esque "Falling." Less inspiring are the retreads into more familiar territory such as the Merseybeat pastiche "Eveline," the formulaic, '60s-tinged pop of "Cry Baby," and the plodding boogie rock of "Love Is a Key," which veers dangerously close to three-chord
Status Quo territory. These quintessential
Rifles offerings may appease those deterred by the album's unexpected wistful nature, but
Freedom Run's inherent charm has the potential to elevate the band into the big league, regardless of how many longterm fans stay on board or jump ship.