Hit The Lights

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Hit The Lights

Hit The Lights "Invicta" album

- Release date : January 2012 -

"Invicta" is the third full-length studio album from the American pop punk band Hit the Lights. It was released on January 31, 2012 through Razor & Tie records in North America and on February 24, 2012 via 3Wise Records in Australia. The entire album was produced by Mike Sapone who had produced Taking Back Sunday, Brand New. The songs "Gravity", "Earthquake" and "All The Weight" are taken from their previous EP "Invicta EP".

"Invicta" album tracks and lyrics

"Invicta" album reviews

Hit the Lights' major-label debut, Invicta, adheres to emo-pop melody as much as their last two albums, but everything feels bigger. Prior to the release, vocalist Nick Thompson explained that he hoped the album would be epic, and all the elements are there. With the monolithic crunch guitar riffs, the stomping drums, the shoutalong hooks, and the choruses ready-made for an arena, all the songs are performed like Arcade Fire or U2 anthems as they escalate into show-stopping crescendos. Taking Back Sunday producer Mike Sapone deserves credit for his attention to sonic detail and achieving a crisp, thick sound. The studio manipulation is more daring than usual, in the silky electronic sprinkles of "So Guilty," the keyboard and software percussion loops of "Faster Now," and the washed-out ballad "Oh My God" (all of which, of course, build to monumental climaxes). Otherwise, these are introspective tales of trying to navigate relationships and breakups, performed with feel-good energy. Essentially, the lighter side of emo. The majority of the work is calculated and formulaic to be sure, but otherwise, this is an example of the correct way to make a graceful progression from punky skater rock to straight-ahead pop. And, unavoidably, the songs are so sonically powerful that they seem, well, epic. As it stands, Invicta is Hit the Lights' ultimate bid for mainstream acceptance and also the quintet's strongest album to date.

*** by Jason Lymangrover, All Music ***

[...] Hit The Lights channels the ghosts of Valencia and The Graduate rather than continuing the poppier side they displayed on their previous full-lengths. They had no desire to join the current pop-punk movement and instead focused on improving as songwriters and musicians. The 11 track Invicta (which includes the three songs previewed in late 2011) features some of the band’s heaviest and most poignant work to date.

The foot-stomping anthem “Invincible” kicks off the album with resounding drums (courtesy of Nate Van Dame) echoing off the backing group “whoa-ohs.” It sets the tone of the album, as “Earthquake” and “Gravity” continue to amp up the power chords while vocalist Nick Thompson sings his heart out. These songs still contain Hit The Lights signature pop song but there’s an extra layer of grittiness and crunch that’ll set off a jolt throughout your body.

Really, everything on Invicta sounds bigger; there is a passion behind the music that wasn’t as prevalent on Skip School, Start Fights. Maybe the major label miscue led to the band’s coming of age, as songs like the soaring “Get To You” (home to one of the album’s best melodies) and the colossal “Float Through Me” (unleashing a chorus that’ll reverberate between your ears for days) shows off a band that has grown into their songwriting.

“All The Weight” is a pure adrenaline rush thanks to guitarists Omar Zehery and Kevin Mahoney, and “Take Control” is a nice throwback to Hit The Lights’ earlier song, which adds an atmospheric flare to the song’s intro. They also explore different tones and pop sensibilities on the somber “Faster Now” (co-written by Yellowcard’s Ryan Key) and pop-ballad “Should’ve Known.” These tempo changes will be hit or miss for most fans (the former drags on a bit too long), but the band should be commended for changing up their style a bit.

But the real knockout is album closer “Oh My God.” You know that jellyfish that graces the cover of Invicta? Well this track is kind of like that. The first two and a half minutes float on like the sea creature as Thompson’s croon fills the spacey ambiance. Then just like that the song strikes quickly, ending the album in fantastic, pulverizing fashion. It’s a fitting conclusion for the band’s most consistent and mature output to date.

*** by Drew Beringer, Absolutepunk.net ***