![]() ![]() That fast-tracked stardom is sought to be broken down here, and there’s an honesty that’s never been this present in The Pretty Reckless’ work that makes this stand out the most. They’ve ascended and plateaued in a completely unnatural way, and despite similar amounts of hype drummed up for their new album Death By Rock And Roll, they as a band haven’t moved or changed to justify it.Īt the same time though, that’s important context to have to inform the direction of Death By Rock And Roll, where age and experience of the industry has led to The Pretty Reckless’ most authentic album to date. It’s probably enough to dismiss The Pretty Reckless as just not a very good band, but a more accurate conclusion would be a band who just aren’t equipped for the opportunities that have been set out for them outside of their control. It’s even more frustrating when there hasn’t been much evolution whatsoever, with a spotty release schedule over the last decade that’s wheezed by without amounting to much of anything. It’d all be less noticeable if The Pretty Reckless were just another name on the circuit, but pretty much since their inception, there’s been some kind of unwritten pedestal housing them, that this is a band built for bigger things than what their output might otherwise signpost. They’ve always been a fairly cut-and-dry hard rock band, with the successes of Make Me Wanna Die and Miss Nothing carrying them further than they really should. There’s indeed a lot of heavy lifting done by Taylor Momsen as the face of the band (and let’s face it, the only member anyone actually cares about), but for a career that’s spanned more than a decade, her presence has been isolated as the only bankable asset The Pretty Reckless actually have. There’s always been a rather pronounced sense of awkwardness about The Pretty Reckless in modern rock, in that they’re a band whose rather high-profile spot has been held time and time again, without any sort of expectation to deliver or actually earn it. ![]()
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