The Fixx – Every Five Seconds (Album Review)

The Fixx – Every Five Seconds (Album Review)

Having success early as 1982 with “Red Skies” and “Stand or Fall,” by the mid-’80s England’s The Fixx was in the Rock mainstream courtesy of the hits “One Thing Leads to Another,” but also “Secret Separation.”

Formed in 1979, in London, England, The Fixx was fairly consistent – 10 albums in the span of 30 years, from the debut Shuttered Room to the last comeback record, 2012’s Beautiful Friction. Now, another decade later, The Fixx rises again with a new album, Every Five Seconds.

Released on Friday, June 3, 2022, via BFD/The Orchard Records, Every Five Seconds marks the band’s eleventh overall studio album. Consisting of ten new songs, it opens with “A Life Survived,” which may be described as a hybrid of Gothic and Sophistipop; exhibiting the seasoned band’s homage to its roots and display of its experience and sonic maturity. The ensuing “Closer” then suddenly gallops with its upbeat tempo and engaging choruses, only to turn dark again with “Take What You Want” and even colder and sinister with “Wake Up,” which will most likely be a future classic.

With the beautifully titled “Suspended in Make Believe,” The Fixx then slows down the mood a bit, transcending the listener to a trance-like calmness. Another compelling track plays next in the form of “Lonely as a Lighthouse,” which will fit seamlessly on a playlist that includes “City of Blinding Lights” by U2, “Cry” by Simple Minds, and “A Dustland Fairytale” by The Killers. “Cold” then follows next in an impassioned groove and rhythmic heartbeat.

A change of style then takes place with the syncopated and angular “Spell,” which may be regarded as an album highlight. Another slow track then ensues–the bluesy and soaring “Woman of Flesh and Blood.” Finally, The Fixx finishes Every Five Seconds with “Neverending” which is engaging, passionate, and acoustic guitar sparkling; a perfect album closer.

Currently consisting of longtime lineup of Cy Curnin (lead vocals), Adam Woods (drums, percussion), Rupert Greenall (keyboards, backing vocals), Jamie West-Oram (guitar, backing vocals), and Dan K. Brown (bass, backing vocals), The Fixx remains one of the enduring flagbearers of the revered Post-Punk New Wave genre that flourished in the 1980s. With the cohesive, well-woven, and lyrically relevant songs that comprise Every Five Seconds, The Fixx proves that it still has the sonic power and energy to last the band at least a couple decades and a number of records more. That is why Cryptic Rock gives Every Five Seconds 4 out of 5 stars.

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aLfie vera mella
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Born in 1971, in Metro Manila, Philippines, aLfie vera mella is a healthcare worker, singer/songwriter, and editor/writer. He was the frontman of the ’90s-peaking Philippine Alternative Rock / New Wave band Half Life Half Death, which released a full-length album and several singles on Viva Records. aLfie worked at Diwa Scholastic Press as an editor/writer of academic textbooks and supplementary magazines, focusing on Science & Technology and English Grammar & Literature. In 2003, aLfie migrated to Canada; he has since been living in Winnipeg, Manitoba. He works full-time at a healthcare institution, while serving as the associate contributing editor of Filipino Journal—a local community newspaper in Winnipeg—tackling Literature, Languages, Cultures, Lifestyles, and Music. aLfie has been a music journalist since the mid-’90s for various print magazines as well as websites. He started writing album reviews for Cryptic Rock in 2015. In 2016, aLfie published Part One (Literature & Languages and Their Cultural Significance) of his Essay Series, Can You Hear the Sound of a Falling Leaf?; in 2021, his first book of poetry, Pag-íhip sa Dáhon ng Kahápon [Blowing Leaves of Yesterday]. In his spare time, he enjoys reading books and listening to music. aLfie is a dedicated father to his now 13-year-old son, Evawwen; and a loving husband to Kathryn Mella, who herself moonlights also as a writer aside from holding a degree in Bachelor of Arts, Major in Sociology.

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