These Four Walls

"Blistering post-punk anthems of the highest pedigree: powerful and tuneful in just the right measures, with lead singer Adam Thompson's understated vocals keeping proceedings in check just as they threaten to spiral out of control. It's a definite statement of intent."
- Q Magazine

"They've already perfected a sound that sits between post-punk and pop, soaring choruses saved from over-sentimentality by stark, even bleak verses." - The Independent '5 bands to watch

"Much like label mates Frightened Rabbit, WWJP are all about the rugged reality of love, confusion, and creating visual music. Their closed eyes and open hearts carry 'Quiet Little Voices' tonight - and might well carry it onto radio waves too"
- Artrocker

"Rocketeering knapsacks gain the stratosphere-tickling booster of an anthemic Clydeside chorus, and we have lift off"
- NME

"Indie-pop pickery with brazen aplomb"
- The List

"An impeccable grab bag of influences and a miraculously accessible romantic sensibility."
- Skinny

"Seething with a newfound intent, their crisp, flighty choruses and sure-footed narratives are bolder and more purposeful than ever before"
- Drowned in Sound

Opening with a lone guitar line that itself has all the momentum of entire genres crammed into a single set of chords, We Were Promised Jetpacks' 'These Four Walls' signifies a debut album that has the sort of peerlessness and potential to stand as a mainstay and luminary of indie music in the 21st century.

We Were Promised Jetpacks are their own band, by anyone's reckoning, but are noticeably informed and inspired by the sorts of musical movements that one moves to and is moved by in equal measure. As vocalist Adam Thompson's soon-to-be-classic Scottish lilt appears over the huge, full band instrumentation, the last four decades' worth of underground musical innovation are all thrown into the sonic space with a flawless assimilation: the jolting, carefree vigour and the backing chorus vocals of 70's post-punk (e.g. Gang of Four); the intricate and eloquent songcrafting and musicianship of 80's UK pop (of Kate Bush, Talk Talk etc.); the skewed jarr and inimitable coolness of 90's Western Pacific indie (of Steven Malkmus, The Shins etc.); the modernist, electrifying thrill of the last ten years of British indie. There is even the guitar-driven gravity and concurrently melodious and powerful impact of Explosions In The Sky or Mogwai and a Johnny Marr-esque sparkle to the lead guitar lines. Futureheads/Hot Club De Paris/Postcard/Fire Engines are similarly effective markers.