After a quiet year the English alt-rock quartet The Everglows return with a new song.
Those who have followed the articles about The Everglows over the years will have noticed the introduction mentioning a ‘quartet’ and not a ‘trio’ it has partly been for this reason that they have been a little quiet whilst they bed-in the new and additional member of the band – Jamie Burridge on bass – and immediately on hitting play the difference is noticeable.
Here I Go Again has both a greater texture, having enabled Steve Perkins to switch from bass to add a second guitar which enables the music to take a wider angle, which in turn has given the bass a greater contrast and thereby adding resonance to the structuring of the composition. I look forward to hearing more from The Everglows in 2018 with this expanded line-up.
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The English compressed-rock trio The Everglows first appeared back in 2014 and have featured regularly since.
Over time their music has become ever more coiled spring in action as the leisurely confident swagger of modern-rock has shifted to a frustration with the world around, much akin to the realities of the societies in which the 99% have become mere playthings for the 1% and rather than extending a clean new mattress on which to bounce, the latest track, Julia Lost presents lumpy broken bedding in which to discover rusting steel.
The Everglows who have never sought to a band of political commentary nonetheless find themselves diarising life and it is interesting to follow the chapters of musicians over the years who are unable but to commentate on the Dickensian poor-houses reality of the UK in 2016 with little sight of anything other than a grinding down to dust which is reflected in ever more pessimistic and sombre material.
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The English mod-rock trio The Everglows have regularly featured since their introduction in 2014.
The Everglows – She’s A Mystery
The most recent track to surface – She’s A Mystery has a hint of psychedelia titrated into the solid rock ‘n’ roll, adding yet another string to their bow.
I remain hopeful that at some stage The Everglows will package some of the singles together in a lengthier offering, allowing the listener to more easily take a run through some of catalogue of songs.
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The English introspective-rock trio The Everglows were first introduced in 2014.
It is always an intrigue to keep track of bands during their evolution, some spring into lightness, others become more encased in brooding menace. The Everglows are a band who have changed from the Brighton Scooter Rallies of scampering mod-rock to an ill-tempered darkness which lays like a drying leather strap across the chest restraining a subject of water-boarding.
A dank cloaking dampened guitar chokes the breath whilst the bass wheels into the ears as an insistent percussion plays for time and the vocal greedily applies sponges to the face allowing the full force of a drowning dousing of water to fill the nostrils with spluttering desperate gasps that cling to life.
Let It Be evokes of the stifling of free thought process in the ’10s as their music has become more doom laden over only two years of progress. In a world in which to disagree with the 1% is to be a terrorist and duly tortured as, The Everglows, reflect of a world of socio-democracy which now takes the STASI record keeping of East Germany as a guideline principal and the concepts of Orwell’s 1984 as a rule of thumb of ‘good behaviour’.
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Initially introduced in August of last year the English mod-rock band The Everglows have become a regular feature.
The Everglows – Feetwalking – artwork
Closing out their 2015 The Everglows released a new single yesterday – Feetwalking, which is available on bandcamp. The piece finds them in very different territory with a rock-centre that displays their more gentle side, which surfaces from time to time, in the just over three and a half minute track.
The guitar notes are allowed to linger longer and everything is given a frosted finish in a number that has an almost shoe-gaze feel to it as the trio play around with shimmering melodies. Whilst moving from their centre ground there is sufficient of the ’60s to capture the attention of current fan-base and simultaneously draw in a new audience as the growing confidence of The Everglows finds them giving themselves permission to demonstrate their wider ability to create material that can and does carve out some space of differential, in much the same way that the The Who evolved to tread steps of difference.
I look forward to discovering on which path The Everglows tread with future material and word arrives of plans for their début LP by the middle of next year.
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