Bright Light Bright Light: Life Is Easy review – bittersweet lyrics and rave beats

(Self Raising)

The 2012 debut by Welsh singer-producer Rod Thomas, who works as Bright Light Bright Light, was voted that year's fourth-best album in the Guardian readers' poll, an unexpected accolade for a fringe artist inspired by the moment in the late 1980s when synthpop collided with house music. Life Is Easy offers more bittersweet iterations of his primary theme, which couples spun-sugar melodies with passive-aggressive guiltmongering. As the wronged party, Thomas often takes the moral high ground: "It's enough to see someone you love move on, and when they're gone, it's enough to know you tried to keep them safe," he murmurs, on Everything I Ever Wanted, which could be an elegant Pet Shop Boys outtake; on I Wish We Were Leaving, he and a beautifully spent-sounding Elton John croon: "One day you'll make somebody so happy, but it won't be me." But it's the hi-hats, rave synthlines and shimmering melodies that linger; Thomas's lingering look at the past won't get the cool kids onside, but ravers of a certain age will find much to love.

Contributor

Caroline Sullivan

The GuardianTramp

Related Content

Article image
Vermont: Vermont review – 'Complex and ambiguous'

House producers Marcus Worgull and Danilo Plessow's hotly awaited collaboration is idiosyncratic, varied, beautifully nuanced and compelling, says Alexis Petridis

Alexis Petridis

20, Mar, 2014 @3:00 PM

Article image
Adamski: Revolt review – early-90s rave star makes a brave comeback
It’s an odd combination of musical ingredients and not all of it works, but Adamski’s new album is brave and funny

Paul MacInnes

05, Feb, 2015 @9:45 PM

Article image
The best albums of 2017: the full list
St Vincent tops our countdown of this year’s most outstanding sounds, from complex rap to moody rock, alt-R&B, inventive grime and more

05, Dec, 2017 @6:00 AM

Delphic: Collections – review
Delphic's fizzling indietronica suffers a little from trying to bring too many ideas together, writes Dave Simpson

Dave Simpson

24, Jan, 2013 @9:30 PM

Article image
Leftfield: Alternative Light Source review – beauty and ecstasy on 90s dance act's impressive return
Now a solo concern for Neil Barnes, Leftfield’s first album since 1999 is a more than worthy addition to its predecessors

Jon Dennis

04, Jun, 2015 @8:15 PM

Article image
MIA: Matangi – review
MIA's last album was hard work indeed, and her new one is only marginally less so – but she's still a unique artist, writes Alexis Petridis

Alexis Petridis

31, Oct, 2013 @4:31 PM

Lindstrøm: Smalhans – review

A concise return to Lindstrøm dancefloor values, with chunky disco basslines and waves of blissed-out melodies, writes Alex Macpherson

Alex Macpherson

08, Nov, 2012 @9:29 PM

Article image
Disclosure: Settle – review

Are Disclosure a 'true' deep house act? Does anyone honestly care? Either way, their album is a very good thing, says Alexis Petridis

Alexis Petridis

30, May, 2013 @2:29 PM

Article image
Mogwai: Rave Tapes – review
Mogwai's terrific new album is a powerful musical tale of late-night hedonism and morning-after regret, writes Harriet Gibsone

Harriet Gibsone

16, Jan, 2014 @10:15 PM

Austra: Olympia – review
Austra's sad-face disco drags itself on to the dancefloor and sounds terrific, but there'll still be tears before dawn, writes Rebecca Nicholson

Rebecca Nicholson

13, Jun, 2013 @8:00 PM