Elsewhere - Set It Off

Yesterday was a spectacular Japanese Grand Prix in MotoGP which saw Jack Miller take the chequered flag first, followed by Brad Binder then Jorge Martin, as well as a great result for Marc Marquez in his second race back after his arm surgery; finishing in 4th after starting from pole. Following on with spectacular things we have Set It Off's fifth studio album, Elsewhere.

Heres a track-by-track breakdown of the album, with each song being ranked from p.1 to p.16. *TRACKS ARE LISTED IN ALBUM ORDER*

Skeleton - p.12

Skeleton starts with soft instrumentals before the vocals come in strong. After the initial addition of the strong vocals to soft instrumental a middle ground is found between the two as they mellow out. As the song continues the vocals and instrumentals both build gradually towards the ending of the song, although the instrumentals do dip quieter for a rapped verse near the end before being added again.

Projector - p.13

Projector has a consistent upbeat bouncing back beat and starts fast paced and strong. The song does mellow out a bit from the initial start but overall remains quite strong throughout the song, building slightly for the chorus parts and end.

Cut Off - p.6

Cut Off starts with a whistled intro before bringing in soft instrumentals and vocals. This softness continues until the chorus comes in strong and then returns to soft for the verse, this pattern continues however the chorus' come in stronger each time. Towards the end of the song both instrumentals and vocals are completely stripped back before building to end the song strong.

Loose Cannon - p.8

Loose Cannon starts off sounding very distant like its being played on another device before the sound moves to the foreground. The song then picks up with fast paced soft instrumentals and vocals which have a slight build towards the lyrics. Throughout the song there are various vocal builds, however the instrumentals remain largely unchanged. Towards the end both instrumentals and vocals are completely stripped back before building again.

Why Do I - p.2

Why Do I starts with vocals first rather than instrumental and has an overall softer sound. There are a few builds with both vocals and instrumentals towards the chorus sections, before returning to the general soft sound. Towards the end the vocals increasingly build to finish strong with the instrumentals.

As Good As It Gets - p.5

As Good As It Gets starts soft with minimal instrumentals and follows a similar pattern to Cut Off, as the chorus comes in stronger each time. Towards the end it builds to the songs fullest sound before the vocals and instrumentals are both stripped to end in a distant sounding repetition of the chorus.

Who's In Control - p.7

Who's In Control features soft vocals and strong instrumentals, with both building overtime. Both build towards the chorus and dip for the verses, with a noticeable dip in instrumentals towards the end as the vocals build before everything is added back in.

Taste Of The Good Life - p.10

Taste Of The Good Life starts off sounding distant, similar to Loose Cannon. Throughout the song the distant sounding vocals are kept in, however, they alternate between distant vocals and clear vocals in a call-and-response style pattern. The chorus is fully clean vocals and the instrumentals also build in vocals towards it. Towards the end the instrumentals are stripped and the vocals, while clean, are sung very softly almost whispered, everything is then added back in for the ending.

Why Not Me - p.9

Why Not Me starts soft with the vocals gradually building throughout the song. During the pre-chorus the instrumentals are stripped back before coming in strong for the chorus. This can also be heard towards the end where both the vocals and instrumentals strip back before building to a strong finish.

Dangerous - p.1

Dangerous is an upbeat fast-paced song that follows a pattern of having the instrumentals stripped towards the chorus, before being built back in over the duration of the chorus. This continues throughout the song and ends on an overall strong sound.

Cordial - p.3

Cordial is noticeably heavier on the bass than other songs on the album, featuring prominent bass guitar and bass drum sounds. The vocals are very soft and hushed, although they do build during the verses before returning to the original softness for the chorus.

The Magic 8 - p.14

The Magic 8 also has a bouncing feel to its backbeat, as do most of the songs on the album. The instrumentals are noticeably layered with a slight dip followed by a gradual build towards the end. There is also a prominent use of clap sounds throughout the duration of the song.

Playing With Bad Luck - p.16

Playing With Bad Luck begins fast and slows slightly before the first chorus. The instrumentals build across the song, however, towards the end both instrumentals and vocals are stripped down and slowed slightly before everything builds back up as one.

Peekaboo - p.11

Peekaboo begins building both instrumentals and vocals right from the start and has an overall cinematic sound. The overall sound of the song mellows out for the chorus and builds during the verses before calming again.

Catch A Break - p.15

Catch A Break starts softer before all the instrumentals are added in. Overall a consistent sound is heard across the duration of the song with vocals peaking during the chorus'. Towards the end of the song we hear a dip in both instrumentals and vocals before both are built up again.

Better Than This - p.4

Better Than This starts soft with an acoustic sound of only vocals and piano. The song proceeds to build gradually adding in more instrumentals and stronger vocals. Towards the end the gradual build gets stronger and builds more rapidly for a cinematic finish.