The Cheated. The Mislead. The Deceived. The Obsolete. The Broken.

And at a guess, Jocko would be The Misunderstood.
They are The Betrayed.
Have a very amateur album review, done track-by-track as I listen to it:

Right. I hear the sound of drums. Catchy. And there's some pretty heavy, sweet riffage going on. Yes, this is IF IT WASN'T FOR HATE WE'D BE DEAD BY NOW, a song named after its first line. Lyrically the song is quite aggressive and dark, which sets the tone for the whole album and even the album design. Ian Watkin's voice is a snarl, which works well with the general song's attitude, and he manages it with some nice melodies.

The song segues perfectly into DSTRYR/DSTRYR, another angry tirade - this one directed against religion and nonbelievers (presumably in Lostprophets). The gang vocals - "Destroyer! Destroyer!" - work really well in added extra power, and the refrain of "Destroyer, destroyer, we live inside the fire, we live inside of you" builds into a powerful climax. Cue another nice riff. The only thing I would mention is that the song seems a little derivative in parts.

Aah, another interlude. This album flows very well. And now... morse code? Can anyone translate that? Ah, I hear familiar chanting. Yes, it's IT'S NOT THE END OF THE WORLD BUT I CAN SEE IT FROM HERE, the radio-friendly lead single from the album which describes a "city of your dreams" as it "crumbles into hell". The chances are you've already heard this song round and about. Big hooks, and typical singalong choruses as we've come to expect from the Welsh guys.

I'll take this moment to praise Stu Richardson for his production capabilites. The album is polished, yet raw enough to command respect. Oh, what's this? Second single WHERE WE BELONG is probably the most poppy song on the whole album. Swap the headbanging for your hairbrush, line up to the mirror, and practise belting out the soaring hooks while marvelling at Watkins' falsetto.

After the anthemic feel to the previous song, the vicious opening to NEXT STOP ATRO CITY might catch you by surprise. This song reminds me of their first album thefakesoundofprogress - the beginning especially is rather similar. The drumming matches the frantic pace of the song. My only comment would by the slightly suspect chorus - "We've got velocity/Next stop Atro City"? Unintentionally amusing.

Isn't the beginning of a song by The Audition? Wait, who's Simon? Why's he lying? Are the Pontypridd boys after Simon Cowell now? Maybe. FOR HE'S A JOLLY GOOD FELON returns to the bouncy-rocky-metal tinged formula and inserts random names in for good measure. So, Mikey, where did you get those Nikes? I bet you stole them off Sean Smith, didn't you? Add a good dose of "whoa"s too, and you get a cheerful song which fights off the chance of a mid-album lull.

I hear synths now, and some drums? Jay sounds like he was having fun. This sounds like something out of Muse if they toned down the scary technicality a bit and stuck it in a blender with some tar. Dark and sticky - hey, when did the drums stop? Static crackle - and this, according to the tracklisting is A BETTER NOTHING. Oh dear, more falsetto. I'm getting a 4am Forever vibe. Another reference to a city being destroyed here, too. I'm not really feeling this song as much as some of the others yet. Come on boys, impress me. And... Oh, they got so close, but the slightly spooky, atmospheric vibe they injected just didn't quite take off.

Now, to cheer you up, you get some cheerful jaunty piano and Ian talking about - guess what? - a city. Well, the streets anyway, in STREETS OF NOWHERE. I guess Ian hates Pontypridd more than he lets on. It's happy and another great song to have a bit of a dance to, but there's a dark undercurrent lurking just beneath all the merry lyrics about inside jokes and monotony. Ooh, and you get some fun "la la la"-ing going on.

The song ends rather abruptly and we're thrown straight into DIRTY LITTLE HEART, a rather more melancholy song. This is the compulsory love-and-loss song, and it's actually pulled off rather well - the almost ska-like guitar in places adds a different spin on the music while keeping it light. Oh look, a reference to streets. Either this is supposed to be a concept, or that rhyming dictionary went walkies... I jest. It works well, and the song seems quite poignant.

And now, a dark prog-rock interlude. I hear lots of drums. Ooh, a piano. And synths. Was Jay feeling under-appreciated? There's something ominous about this interlude, and the hissing does nothing to ease my mind about things to come. And then DARKEST BLUE starts, a title accidentally stolen from Jack's Mannequin (Dark Blue). The guitar riff here again deserves special mention, and the song - with rather a more hopeless feel than the rest of the album - serves as a nice counterpoint to all the happy, saccharine moments. Were they all a facade?

Guitar. A slightly haunting background synth. THE LIGHT THAT SHINES TWICE AS BRIGHT is here, the epic swansong of the album, which had all of Lee's guitar parts and Ian's vocals recorded in one take. If you thought that falsetto was impressive before, try listening to it here. Lostprophets claimed to have put their heart and souls into this album. And hear that, which sounds like drumming underwater? That is their heartbeats, recorded and used as a drumbeat. Nifty idea, which has a really great effect on the ending epic song. The whole thing feels like the calm before the storm - and the thunder starts rumbling at the end. "This is how it feels" claim the band, as piano re-arrives from nowhere. Then the synths take over again, and there's a weird buzzing, which all fades away gradually. Listen carefully, and you can make out something like footsteps under the sound of someone getting an error message on the computer.

Ending thoughts - Hmm. It's two and a half years late. It's cost them over half a million dollars. It's been a labour of love, to say the least. And was it worth it? It sounds like their three previous albums have been analysed, dissected, and the best bits of each taken and liberally doused in bitterness and anger. There's heavy guitars, chants, sing-a-long choruses, and refrains that will get lodged in your conciousness and drive you crazy. So, overall - yes, it was worth it. It's the album for the disillusioned, the frustrated, the downtrodden.

It's an album for the betrayed.