The English garage quartet, The Reytons, released the EP Alcopops & Charity Shops on the 3rd.
The searing energy can be felt warming up the room through the speakers, which I do suggest are turned up as loudly as possible prior to hitting play.
A quartet of talented musicians, who have rapidly established a keen following that can only but be built on by the five songs on EP, which is available on bandcamp.
Each track takes the listener to a different decade and reflects of British rock at that moment in time.
On The back Burner, the opener, throws the listener to ’70s new wave – which is a track that is worth the price of Alcopops & Charity Shops on its own and would typically be my pick of the release, though such is the depth to the EP, it isn’t.
Next, Harrison Lesser, is a reminder of ’80s indie as the audience reminisces of Factory Records.
The middle song Ghost is drawn from ’90s Britpop with its sense of optimistic revivalism.
The penultimate – Please Don’t Call It Time – takes the listener back to ’50s merseybeat and jiving feet.
Closing out the EP – Low Life – my pick of the release – which is the bang up to date ’10s of the palpable pent-up frustration of garage-rock.
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The Welsh rock quartet Charlie Says released the EP Vena Cava on the 30th of June.
These are a highly talented group of musicians who during the course of the roughly eighteen minutes of the four songs are able to wrest a whole gamut of emotional reaction from the listener.
Opening with the pulverising title track – the room is transformed in to a heaving mass of frenetic head banging and wayward air guitar as the song hurtles past the dancing bodies.
Next is the heart-aching melody and vocal extravaganza of Heartshaped that finds the floor washed in tears and is my pick of the release.
The penultimate song Witches transforms the sound to a latino rumble that underpins a cinematic theme and the feeling of the intimacy of the vocal.
Sadly the end of Vena Cava is signalled by the opening bars of the closer No More Glory which fires in to a raw blues rock number that fizzes with energy – leaving those in earshot shouting for more and I do look forward to hearing more by Charlie Says in short order.
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Vena Cava – EP – Charlie Says is available on iTunes.*
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On the 16th the US grunge quartet OVEF OW will be releasing the EP Working.
Opening the four track EP is Working Girl which grinds through the room minding the listener of stilettos needing a re-heel for too much walking as a flexing analogue winds through the ears to the accompaniment of the feisty thighs of bass and smeared red lips of vocal as the lithe percussion of calves wraps around the audience all in a snarling sneer, which in essence is the whole purpose of Ovef Ow, who are able to take a scant view to the world around whilst simultaneously smooching – well worth the cost of the release on its own (which is available on bandcamp).
Next is Psycho Crush – a far darker number that bustles through the speakers in a duality of speed giving the song a discombobulation further enhanced by a bending vocal that minds of the distortions of a parabolic mirror.
The third song is The Whistler, which is a humming wurlitzer wrestling with guitar instrumentation with the percussion acting as referee and a song that requires immediately replay.
My pick of the release is the closer Working Boy – which bleeds in to the room on the back of an extended raw chalk-board screal that grates the teeth prior to developing in to a parenthesis of oiled flexing inner thigh fed through the guitar from which the scratching vocal gnaws the neck and the listener descends in to a vestige of their own existence and the audience becomes lost in their own deepest desires as synthetics and bass whirl temptingly around the mind in ever faster and more urgent thrusts of the hips prior to reaching a climactic rictus of growling self-loathing.
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The Finland based alt-indie band Timshel released the EP Hubble Jive on the 18th.
Reigning back on the dancing vibe of their sound Hubble Jive has a more introspective mood than much of their previous material featured.
The opener and title track Hubble Jive sets the scene for the EP as Timshel contemplate the vastness of the universe in conjunction with the intensity of personal emotional desires resulting in a track that has an underlying sadness which wraps around the listener in empathetic embrace.
Next is We’re Still Here which is perhaps entitled as such – as recently what was a sextet became a trio in a track that is a credit to them as they are unafraid to express their sadness at the sudden change and sense of fortitude that there is still a kernel from which to develop, whilst making it available for all to explore and extrapolate as the listener wishes.
Setting themselves back on to a more even keel – Floating – which featured back in June finds the trio on a more familiar path.
The closer Rising Airplanes is my pick of the release as it indicates Timshel have reconciled the past, the present and are looking to the future with the wistful just under four and a third minutes of evocative synths, instrumentation and considered vocal.
Whilst a cathartic release for Timshel, Hubble Jive, is equally a fascinating journey for the audience, who feel they too are emotionally invested.
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The Australian new-wave quartet The Apathies released their début eponymous EP on the 13th.
Opening the four track release – The Nang Song sets the scene for the release (available on bandcamp) as the sounds scatter across the room in shafts of trippy light that minds of watching a swarm of Lampyridae darting around at night as the song threads through a diversity of pace and intensity.
Next is Nothing To Do which opens with delicately played upper notes on the guitar as-though a librarian wearing soft gloves handling an original Shakespeare manuscript prior to ripping out the pages in frustration, with plectrum sliding up and down strings leaving a delightful springy recoil to the sounds.
What You Want readily identifies The Apathies are far from apathetic, rather capable musicians and song-writers who can create intense imagery within the sparse architecture and my pick of the release.
Closing out with Camus’ Desert which appropriately given the reference to Albert – is an abstract, approaching four minutes, of psychedelic meanderings.
Think Wreckless Eric, Iggy and The Stooges and Captain Beefheart and you will be getting an idea of the melting pot of ideas and influences The Apathies draw upon to create their music.
I look forward to hearing much more of the quartet in short order.
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