H 18°, L 6° | Tomorrow: 
Lifehouse is back and stronger than ever. Its new album, Smoke and Mirrors is similar to its previous style but not without some new sounds as well — the album still has a rock edge, but it is packed with those emotional lyrics the band has been famous for since its first hit “Hanging By a Moment.”
The album as a whole is well put together and a great choice to throw on and listen to straight through, as the songs play off each other nicely. The opening track “All In” starts off slowly and escalates nicely to a rock chorus that will get you pumped up for the rest of the album. There is nice balancing of softer and louder beats throughout the songs that creates a nice variety and keeps the listener paying attention.
However, many of the songs just don’t have the hook that makes you want to play them over and over. If that is what you’re looking for, check out the aforementioned “All In” and “Halfway Gone.” Both have catchy choruses and a good upbeat feel. If you are looking for something slower, “From Where You Are” is a love song that sounds just like the Lifehouse of its first album No Name Face. And “It Is What It Is” is a nice slow down with some great piano music.
Sounding almost like The Fray or OneRepublic here, they are clearly trying some new things. Other experiments include “Here Tomorrow Gone Today,” which sounds much more pop than expected out of a rock band, and almost like something you’d hear behind a Lady Gaga track. “Smoke and Mirrors” also is trying something new, or rather something old with a classic old school rock vibe.
The album has a lot to offer but most listeners will probably only relate to about half. With the tracks split up between two sounds, most will gravitate to either the heavier rock or the slow and soft love songs. If you like both these sides of the band the album will be a hit, but if not, you may want to pick and choose which songs to buy. Although if you are only going to buy one song, skip the first single, “Halfway Gone,” and pick up “It Is What It Is.” This has the true sound and soul of Lifehouse and is a sound hopefully they continue to pursue in the future with more albums.
It seems like the band had a lot of fun making this record, trying new things but staying true to its classic sound. The variety offers something for everyone. Although you may not love the whole album, you will definitely be able to find one or two songs you appreciate.
3 stars out of 5.
IP hash: c521b076
Bad review..
IP hash: 81741ca8
Thank you!
This is one of the first reviews of this album I’ve read that’s not completely bias or just out to personally insult the guys. I’m nicky james, founder of The Lifehouse Nation. This was a great review. You nailed it. The only thing I disagreed with was your critique of all in. But hey, to each his own. Fantastic review. :)
Nicky James Founder Www.lifehousenation.com
IP hash: 8635acd6
re: nicky james
There’s a difference between bias and something that runs counter to your own interests. You’re dealing with two ends of a spectrum, and you can’t label one biased and the other correct without negating the premise of opinions in the first place. Perhaps the reason this review is so in-line with your ideas is because this review lacks any substantive empirical evidence to suggest its legitimacy. The fact that such a positive review is so poorly written is the strongest argument it poses.
But the humanitarian in me can’t let one thing fly: No matter how lifeless and uninspired Lifehouse’s music may be, they’re still real people with real brains and real hearts, so quit referring to them as “it.”
IP hash: 30587364
Had Enough: Not a typical Jason song, but easy on the ears and will sound perfect on the radio. Pepper in a little Daughtry for harmony’s sake and presto, your royalty check, sirs.
Halfway Gone: I must admit I was a little shaken by this single, but now that I’ve heard the record it all makes sense. Lifehouse made a record that was half radio, half rawk. Get it? How and why would we be talking about it if it were void of either of these sides?
It Is What It Is: Easily the most traditionally Lifehouse track on the record. The song attempts to communicate a breakup without resorting to the normal anger, vindictive tones ala Kelly Clarkson, Christina etc. It’s a poignant tale of, “I don’t know what’s wrong and I certainly don’t know how to fix it, but I think you’re awesome and maybe if we don’t torch each other’s houses, someday we could even work things out”. Refreshing, well written, incredibly sung… why is Lifehouse forgotten at Grammy time?? This is a winner.
From Where You Are: Pure Wade. Nuff said.
Smoke & Mirrors: This title track is best explained by Bassist Bryce Soderberg in the digital LP ‘track by track’ interview. He says they referenced it against Tom Petty’s ‘Damn the Torpedos” records, and you can kind of tell. It’s got all the same ingredients, i.e. Hammond B3, Drum pod from Stan Lynch’s ghost, gritty, bendy guitar lines ala Mike Campbell, and a new style of singing for Wade. It took me a minute to like this because it’s so different from anything Lifehouse has ever done, but I applaud their effort and believe they’re onto some greater places because of this kind of experimenting.
Wrecking Ball: Holy BassBalls Batman, Bryce is a singer and the definition of Lifehouse expands! “I feel the weight against the wind The demolition of me caving in And Im always swinging on this wrecking ball” Pretty darn creative while the track thumps and hammers like a compressor built for flattening Buicks.
IP hash: 30587364
It Is What It Is: Easily the most traditionally Lifehouse track on the record. The song attempts to communicate a breakup without resorting to the normal anger, vindictive tones ala Kelly Clarkson, Christina etc. It’s a poignant tale of, “I don’t know what’s wrong and I certainly don’t know how to fix it, but I think you’re awesome and maybe if we don’t torch each other’s houses, someday we could even work things out”. Refreshing, well written, incredibly sung… why is Lifehouse forgotten at Grammy time?? This is a winner.
From Where You Are: Pure Wade. Nuff said.
Smoke & Mirrors: This title track is best explained by Bassist Bryce Soderberg in the digital LP ‘track by track’ interview. He says they referenced it against Tom Petty’s ‘Damn the Torpedos” records, and you can kind of tell. It’s got all the same ingredients, i.e. Hammond B3, Drum pod from Stan Lynch’s ghost, gritty, bendy guitar lines ala Mike Campbell, and a new style of singing for Wade. It took me a minute to like this because it’s so different from anything Lifehouse has ever done, but I applaud their effort and believe they’re onto some greater places because of this kind of experimenting.
Wrecking Ball: Holy BassBalls Batman, Bryce is a singer and the definition of Lifehouse expands! “I feel the weight against the wind The demolition of me caving in And Im always swinging on this wrecking ball” Pretty darn creative while the track thumps and hammers like a compressor built for flattening Buicks.
IP hash: 30587364
Not sure this is the most articulate description of a record. I’m getting that you like the album, but think that some people will only like half the record? Me no unnastand. Personally, I downloaded the deluxe version and found it to be chock full of hits, hooks and talent!
All In - Immediate one listen pop/rock track with a great line; “I spent a week away from you last night”. Jason’s voice shines and displays his knack for pulling off a sensitive verse, contrasted by a powerhouse rock vocal in the chorus. A truly great opener. Lifehouse, I’m ALL IN too!
Nerve Damage: Who knew? Who knew they could sound like Pink Floyd while maintaining the Lifehouse trademark, and why do critics insist this band is anything less than smart enough to pull off both rock radio and pop radio friendlies? Guitar solo is David Gilmore reincarnated, and I do not recall Lifehouse pulling out a solo of any kind in any of their priors. Rick Woolstenhulme shows off his best John Bonham, and does NOT go home feeling the lesser for it.
Had Enough: Not a typical Jason song, but easy on the ears and will sound perfect on the radio. Pepper in a little Daughtry for harmony’s sake and presto, your royalty check, sirs.
Halfway Gone: I must admit I was a little shaken by this single, but now that I’ve heard the record it all makes sense. Lifehouse made a record that was half radio, half rawk. Get it? How and why would we be talking about it if it were void of either of these sides?
It Is What It Is: Easily the most traditionally Lifehouse track on the record. The song attempts to communicate a breakup without resorting to the normal anger, vindictive tones ala Kelly Clarkson, Christina etc. It’s a poignant tale of, “I don’t know what’s wrong and I certainly don’t know how to fix it, but I think you’re awesome and maybe if we don’t torch each other’s houses, someday we could even work things out”. Refreshing, well written, incredibly sung… why is Lifehouse forgotten at Grammy time?? This is a winner.
From Where You Are: Pure Wade. Nuff said.
Smoke & Mirrors: This title track is best explained by Bassist Bryce Soderberg in the digital LP ‘track by track’ interview. He says they referenced it against Tom Petty’s ‘Damn the Torpedos” records, and you can kind of tell. It’s got all the same ingredients, i.e. Hammond B3, Drum pod from Stan Lynch’s ghost, gritty, bendy guitar lines ala Mike Campbell, and a new style of singing for Wade. It took me a minute to like this because it’s so different from anything Lifehouse has ever done, but I applaud their effort and believe they’re onto some greater places because of this kind of experimenting.
Wrecking Ball: Holy BassBalls Batman, Bryce is a singer and the definition of Lifehouse expands! “I feel the weight against the wind The demolition of me caving in And Im always swinging on this wrecking ball” Pretty darn creative while the track thumps and hammers like a compressor built for flattening Buicks.
There’s more, but I just wanted to back up my critique of your critique, Maggy. You need to take a stance with some facts. Then your readers will trust you and worship your every word.
Cheers! Mark (NY)
IP hash: 30587364
Not sure this is the most articulate description of a record. I’m getting that you like the album, but think that some people will only like half the record? Me no unnastand. Personally, I downloaded the deluxe version and found it to be chock full of hits, hooks and talent!
All In - Immediate one listen pop/rock track with a great line; “I spent a week away from you last night”. Jason’s voice shines and displays his knack for pulling off a sensitive verse, contrasted by a powerhouse rock vocal in the chorus. A truly great opener. Lifehouse, I’m ALL IN too!
Nerve Damage: Who knew? Who knew they could sound like Pink Floyd while maintaining the Lifehouse trademark, and why do critics insist this band is anything less than smart enough to pull off both rock radio and pop radio friendlies? Guitar solo is David Gilmore reincarnated, and I do not recall Lifehouse pulling out a solo of any kind in any of their priors. Rick Woolstenhulme shows off his best John Bonham, and does NOT go home feeling the lesser for it.
Had Enough: Not a typical Jason song, but easy on the ears and will sound perfect on the radio. Pepper in a little Daughtry for harmony’s sake and presto, your royalty check, sirs.
Halfway Gone: I must admit I was a little shaken by this single, but now that I’ve heard the record it all makes sense. Lifehouse made a record that was half radio, half rawk. Get it? How and why would we be talking about it if it were void of either of these sides?
IP hash: 680141c1
Agreed with the first post. Bad review.