Twelve years after their first record deal, Lostprophets release their fourth studio album, The Betrayed. The album has been scrapped, delayed and rescheduled on numerous occasions, but now it’s finally been unleashed. The Welsh band have adopted a darker, heavier feel as well as furthering their use of electronic sounds, all the while staying in line with the original toughened-up emo-metal that has led them to success.Sharp, moody Marilyn-Manson-style guitars and hollow, cascading drums set up the overall sinister feel of the album in the opener ‘If It Wasn’t For Hate We’d Be Dead By Now’, which leads into the raucous ‘Dstryr/Dstryr’. Filled with chasing guitar licks and Refused-like screaming, the track oozes with the tantalizing venom that makes proper heavy rock incredibly enjoyable. Chanting is abundant in many of the tracks, making it clear that Lostprophets understand what makes a song sound huge as well as how to make mosh pits go wild. Their infectious riffs, tumultuous endings and stylized, pretty looks save them from morbid black metal territory, and the melodic edge they’ve carried from Liberation Transmission shows they have stayed with using a wide range of influences, from pop to ska, metal and indie.Although ‘Next Stop, Atro City’ is laden with throaty screams of “six six six” that Avenged Sevenfold would steal, their tuneful, upbeat My Chemical Romance-playfulness makes them easier on the ears than Machine Head, but more macho than Papa Roach. ‘Where We Belong’ opens a window of poppy optimism; the light ambience from 'Last Train Home' is touched upon through the inclusion of All American Rejects-esque keys. With less distortion, Watkins’ Valley Boy accent surfaces. It seems less irritatingly Americanised than in the past, now complimenting the other instruments to highlight the tight togetherness of the band. The lyrics seem more honest and frank; references to “bullshit smiles” and “inside jokes” in ‘Streets Of Nowhere’ reveal blunt insights into the mind of the vocalist that really show how self-assured and genuine the band are.Along with using the predictable hooks that have netted fans in along the way, Lostprophets have built on their use of synths and electronic sounds that they trialed in 'Wake Up (Make A Move)' many years back. The synthy, spacey end to ‘He's a Jolly Good Felon’ would fit perfectly on a soundtrack of a major modern horror, while the dramatic keys in ‘Dirty Little Heart’ mimic the destructive atmosphere created in many a film score.No matter which of their albums you listen to, Lostprophets always manage to produce decent rock. Part of this comes from how they follow structures and sounds that have been proven to work, then spice them up by cranking up the volume and giving it everything they’ve got. Having the guts to dabble with theatrics and delve deeper into genres is what secures Lostprophets to their podium once again. With The Betrayal, they ensure that they develop their sound with experimentation while sticking to what they know. This album is addictive and heartfelt, showing Lostprophets at the top of their game.

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