Brooklyn trio, Little Daylight began in late 2012 by releasing remixes. By the beginning of 2013, they released their first single “Overdose.” The track quickly shot to the top of the hypemachine charts and it was not hard to tell why: MGMT-esque lead synths, lush M83-style production, and over the top lead singer, Nikki’s sweet vocals. By April the band was ready to release their second single, “Name in Lights.” Unlike “Overdose,” “Name In Lights” had more of a downtempo feel with Nikki’s vocals taking on a wispier quality. While the track was still poppy, it definitely was a step back from “Overdose.” Fortunately, the band met if not exceeded “Overdose” with their third and latest single “Glitter and Gold.” The track is the band’s most uptempo song yet with 80s-style driving drums and an explosive chorus.
While the three singles were small introductions to Little Daylight, their real introduction is Tunnel Vision EP. The five track EP compiles the band’s three singles plus two additional tracks. Unfortunately, the two additional tracks are really just one track. “Treelines” is a two-minute instrumental that blends seamlessly into “Restart.” For its part, “Restart” is one heck of a track. The track feels a little less produced than the band’s other works. It features live drums and the bass guitar plays a more focal role in the track. While obviously synths are still present, the live instrumentation gives the song a more “rock” feel which really works for the band.
Although “Restart” feels like the only new entry into the Little Daylight catalog, it is worth dissecting the track listing. Kicking the EP off with “Overdose” seems obvious as it was the band’s original introduction on the web. “Glitter and Gold” follows, in a move that almost feels High Fidelity inspired: “you’ve got to kick off with a corker to hold the attention and then you’ve got to up it a notch.” Then comes the “Treelines” into “Restart” combo which works because “Treelines” starts off very subdued and slow builds until it explodes with the actually beginning of “Restart.” The quieter intro makes sure to not overshadow “Glitter and Gold”–which feels like the EP’s high point–but still leads into “Restart” which is arguably the second best track on the album. Where the track listing comes into question is by closing with “Name in Lights.” Ending with the most subdued track sounds a bit too much like going out like a lamb rather than a lion. “Name in Lights” is the song that least sounds like the others due to its downtempo feel and to bury it at the end (even if it is only five songs) almost assures it will get skipped. If the song had been placed third before “Treelines” it had a better chance of leading into the quieter instrumental and then the EP ends on the big bang that is “Restart” (plus, it seems only right to end with a song called “Restart”).
Tracklisting missteps aside, Tunnel Vision sets up Little Daylight as one of the best new acts to come out of 2013. Their ear for pop is impeccable and their production is top notch. While the EP is more of a smörgåsbord than building one solid pathos, it is worth noting that every style or mood they try to capture is done fairly successfully. Of course, fans who are already familiar with the band’s three singles will be disappointed that they are only getting one new song with the EP but for those unfamiliar with Little Daylight, the five song collection is the perfect introduction to what could be your new favorite band.
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