Trevor Lucey from Cork, Ireland has put together three tracks of supernatural blues with a hint of rockabilly, the first song on the EP is called Get A Little Loaded…. With its quirky melody and slapstick blues feel just on the brink of commerciality, the harmonica sounds pretty well too it add to the melody giving it a real blues feel. the second song is called Take My Time… the song is an instrumental and played like some old 50’s fender shadows style tune, not bad but vocal would sound nice over the song it would be a nice little number too. The third and final song is called Cold War Blues…. The first impression from this song comes across like a Bruce Springsteen song but mellows out with cool Latin groove under it's moody blues melody.
Consist of:Dan Craik, Peter Drakeley, Mulvey and Martin Reynolds
Describe themselves as a mutual love of The Sex Pistols, ‘Stones, The Stooges and The Fall ~ an unhealthy admiration of chaos and all things in excess and a desire to provoke.
Goodbye to all that
Lyrics are punched out between great bass, lead guitar.While drums pulls everything together.One can hear their inspiration.
I apologise, I haven’t managed to find out much about these musicians, but I’m certain they’re great to see Live!!
Regime
Good intro.One recognises their influences, but the individualism is there.Good use of echo.Bass takes the lead and drums play a major role.I can see their audience getting excited and participating.
Confessions of the Night
Again great intro, got my hair moving!Strong on bass and lead guitar.‘Particularly enjoyed finger work at the end.
I’m sure we’ll hear a lot more from The Way, when they find an experienced producer who can draw more from their talent.
Little Bear is screaming a Big Daddy Bear Roarrrrrrrrrrrrrrrrrrr
The Eclectic
The Eclectic from Dublin have a lot of quality going on, from the state-of-the-art website (I know its only detail, but kudos for some great web design it has to be said) to the five gear laden musicians who have released a superbly recorded and produced EP called 'Breathe'.
Listing heavily towards the 'prog' edge of indie/heavy rock, The Eclectics have painstakingly crafted some fantastically well made songs. With layers, themes and carefully executed, expensive sounding production (loving the sampling on 'The Lobotomist'). Kevin O'Brien's vocals are self assured and in places silky smooth ('Scream') adding the gloss to the layers sounding every inch like Matt Bellamy (Muse). Each song sounds as if it has spent many months of rehearsal and studio time, and its paid off because the whole EP is lush. Rarely do I get unsigned bands presenting material as well finished and of as high quality as this.
Would I buy their EP? Damn right I would (and will) but on a tiny, cautionary note, while this is as good a slice of original, unsigned work as it gets the some stylings of similar bands such as Muse (Kevin is uncomfortably Bellamy-esque in parts) and Mogwai, that are very obvious but ultimately not debilitating. Forge their own path and the door is wide open for The Eclectics. Excellent stuff.
The Farstar hail from Texas and its only the slight give-away hint of an accent in Shannon Barrett's vocals that would give you that clue, sounding as they do, like a very British indie band. You can close your eyes through tracks like "Astronauts" and hear The Cure jamming with Editors or Michael Stipe fronting Elbow. Farstar have definitely crafted their sound down to a fine art, their post modern indie sound is mournful but not depressingly bleak, it has subtle layers of guitar and piano and enough clever production tricks to give the songs warmth and texture, without making them overblown or to try-hard. Shannons vocals are often fragile and passionate which is de rigeur for all good indie singers at the moment, but it doesn't sound contrived as it has the character and charm to enhance and lift all of the songs. Even the (slight) over-use of regularly repeated U2 influenced guitar lines or the ubiquitous overblown bio don't grate sufficiently to detract from the fact that these are well played, atmospheric and anthemic songs. True enough, the songs don't change in pace from one melancholic slow march to the next but they are genuinely indidual and strong enough pieces of songwriting to withstand that kind of scrutiny. From the uplifting 'There's a light in your eyes' to the excellent "cash only" via the REM-at-their-best "Getaway Face" I would strongly recommend a listen.
I would imagine that The Farstar are a rare beast in The States playing their particular brand of Snowpatrol-esque, Brit -Indie and while they must have a fairly small amount of competition there, they'd definitely be a bit more part of the herd in the UK. Which, is where they should try and come and play if they wanted to get a decent hearing. They look and definitely sound the definite article.
The Random Nouns are a bit duplicitous. You look at their Myspace page and there are such large dollops of casual humour and self deprication in their jottings that could be lulled into a false sense of light-hearted security. The Random Nouns music is very much, hot on the heels of the darker, mournful and more melancholy indie artists such as Richard Hawley, Nick Cave or Tom Waites. The songs are, on the one hand light and ethereal but also dark and moody in equal measure. Most songs are minimal but adequately supported by backing, usually strings and strummed guitar, to give a haunting open-space, minimalist feel. The vocals sit somewhere between the aforementioned Mr Hawley and Mr Morrisey in style and despite their best efforts (a horrible fret buzz on 'Sad but true' a few vocal flattening issues in some songs) TRN pull it off with some beguiling and hypnotic qualities which, for the life of me insists on making me listen to all the tracks all the way through.
So if you like the feel that melancholy, delicate and haunting tracks bring, The Random Nouns are your band. Of the future? Well currently if you've heard 'Valentine' by Richard Hawley, you've heard most of The Random Nouns' work (right down to the string accompaniment). But hey, there is plenty of room for more songs of that sort of quality. A bit of polishing on the finer details and a little less Hawley homage and you will have some mighty fine tunes coming through...
As most bands upcoming on the scene in Ireland at the moment The Dolldrums give an edge to indie rock music as they like to call it but im hearing more of popped up punk melodies with a grunge flavor.... in a good way... this is one band that has created cunning and catchy tunes and have then down to a tee, with this 3 track stunner Ep with tunes like "Magic Car" pissed up popped punk with spilling in your face lyrics and a melody to get your body moving, this tune has some great potential across the media board. "Sarcastic Swipes" OK The Dolldrums express the indie feel in this tune with chorus and melody but lacks the kick that needs to be giving to the tune, if this is the anthem tune its too short but would be more of a live song than an Ep filler. "Ballad of a wheeler dealer" This is more of a different side to this band they still hold the great melodic approach but give more on the vocal and backing vocal, for one minute I could hear The Beatles maybe that is the indie influence in the band but this is not a bad tune by far.. it could be what they call a sneaker... maybe? but watch out for it, excellent stuff from The Dolldrums this Ep really impressed me this one goes in the collection big time.
Oh lord, where do I start with The Lonely Schizophrenic...you don't get that many bands doing comedy after all. Well, they're from Dublin, they do comedic songs written on a quirky, folky musical platform -which are funny. Very funny. Well they made me laugh out loud and that alone must mean they have a serious funnybone. Songs like the wonderfully mental 'Crab People' (which reminded me of the surreal 80's 'Fish Heads' song by Barnes & Barnes) or the roadkill fun of 'Rest in pieces' are great pieces of sing-a-long humour and it would perhaps be churlish of me to question what on earth they're going to do with this stuff outside of pub gigs and maybe somewhere like the Edinburgh Festival, but so what, they're good as they are. One *tiny* detail. I'm not entirely sure that the profile picture of a man in a balaclava and sunglasses from Ireland is going to be a big PR winner on the mainland but I maybe wrong..! Suffice to say I enjoyed TLS loads and it made a really pleasant break from some of the more 'serious' artists that I've been working my way through. I would definitely go and see them, just for the craic!
The Kosmos are definitely trying to capture a specific sound. In the last 10 years or so there has been a wave of fashionistas who are generally urban based indie bands harking back to The Verve and latterly Richard Ashcroft, followed by bands like The Libertines, The Charlatans and and on through Babyshambles, The Zutons, The Magic Numbers and others where the notion of polished songwriting and high gloss production was replaced in favour of a more eclectic, earthy, unpolished almost 'anti production' sound, harking back to days of The Stooges and The Kinks era of of 'independance'. Sometimes its worked spectacularly well (Richard Ashcroft is without doubt an iconic songwriter who's stark poetic songs need little polishing) and in others its been a dubious battle of style over substance (Pete Doherty).
The Kosmos style finds themselves somewhere between all of these influences and it can be a bit hit and miss in quality. Clearly led from the front by singer Andrew Crayford who, from listening to the the songwriting and seeing his look is unmistakably influenced by the afore-mentioned Mr Ashcroft. From the 60's stylings and jangly indie guitar combo of the Sgt Pepper-esque 'Silent body language' to the Charlatan feel of 'Come down' to his own nod in the direction of Bitter Sweet Symphony in 'Save me' or the best of the bunch 'Evelyn', which strips back the previously rather ragged band to a much more palatable and haunting solo ballad that is head and shoulders above the rest of whats on offer.
"There are definitely some notable highs and lows in quality of The Kosmos offerings and when they fully discovers their own style and polishe up the music production they will be a very creditable band"
Traditional folk music (thats 'traditional' as in guitars, fiddles and bodhrans et al) gets a bad rep from large sections of the uneducated public. With preconceptions of deeply earnest beard wearers in baggy jumpers chuffing on about 'hey nonnies' and such like with a well placed finger in the ear and a real ale in hand. Such a casual disrespect would undervalue centuries of real 'peoples music' that has filtered down the ages since Saxon times. It would also be ignorance to be unaware that folk music, both traditional and modern is one of the fastest growing (or I should say resurgent) genres of this decade with Radio 2 heavily spreading the gospel and artists and festivals popping up like a rash all over the UK and Ireland.
So in stride The Dambuskers from North Devon ( I will try and resist the temptation to use an 'ooh arr' at this point....oh bugger) who I suppose would best be described as the heavy rock of traditional folk. They play upbeat, bounce along, in your face folk with a capital 'F'. No apologetic froth & bubble minstrels these. Sure there's fiddles and bodhrans, but the songs are invariably about drinking, fighting and f... ahem...fair maidens and there's definitely an absence of holed knitwear or shaggy beards dunking in tankards of 'Bishops Gusset'. On their Myspace you have a selection live tracks which is probably one of the best environments to appreciate this band. You can almost smell the beer and feel the footstomping in the room marshalled by their very own Lemmy, Steve Ruffe. With songs like 'Drink down the moon' and 'Whiskey in the jar' (yes, that one) and the bouncing 'I'll tell me ma" you will get good fun, rollocking trad folk played with gusto and verve. Its infectious, steeped in history and for my money should be encouraged out of the West country pubs and more into the mainstream to show some of the home recording, laptop & songwriting software geeks what they're missing, and where they come from.
Blimey, is February 8th "New single Friday" or something? This is my second in a row!
I shall cut to the chase and right off the bat, I quite like The Ghandis. Although not my usual cup of Earl Grey, thats for sure, but their unrefined, individual style is more than a bit infectious. Hailing from Dublin, this four-piece join up a few musical flavours that end up in an electric mix of bits of jazz guitar, funkyness, acoustic indie and even a very slight pinch of ska. The single, 'ZaZa', has taken me a few listens but the wait to 'get it' was worthwhile. It bounces along at fair old lick in a vibe thats not a kick-in-the-pants off the aforementioned ska and it all combines to draw you in and infect you with its jaunty freshness. It starts quite meekly but, as it gains confidence and most evidently, when the lead vocals (its not clear exactly who is providing them, as the whole band are credited with a share of 'vocals') open up a bit and let rip, its a little belter of a tune. What I like the most is that this song succeeds on its own merits, here is a hooky, upbeat and original tune,which doesn't rely on trying try to be, or sound like anyone else or fit into any other bands pocket - and it works. An original formula that will warm most punters hearts I'm sure.
Sure, being pedantic, there's a little roughness around the edges of the recording and the meter and compared to some of the other single releases I've heard today, the production has a quite 'home-made' feel, but I don't think the song suffers for that, in fact it adds to the warm, quirky charm if you ask me.
After two listens, I'm sure I will be remembering the hook on this song far longer than some of the other, more expensive sounding, releases on the same day. Original, catchy and fun.
If your mate told you they were off to see a band called The Tripps, what would you think? An acid soaked, trippy style 60's influenced indie band. Oasis meets The Charlatans maybe? Well yes, The Tripps do exactly what it says on the tin.
The first track 'In the clouds' is definitely a 60's influenced song with a promising start despite lots of references to clouds, lollipops and berries plus a tinkly keyboard hookline and some great sounding (possibly sampled)drums. From there on in, the songs are trashed by some quite woefully off key vocals and backing vocals. Surely, I thought, just a demo or a one off aberration, so on to 'Sailing on a gun' an Oasis flavoured tune that also kicks off with some promise until those vocals come back to haunt again... a quarter note flat to the melody and also to each other throughout - then the guitar gets in on the tuning act, oh dear.
The track 'Pure Mind' again starts with enterprise, rock solid and crisp drums, twangy guitar hook then...bugger, some more flat vocals by which time I'm looking for the 'Esc' button. But what of the live version of Pure Mind (also available on Myspace) - maybe there's still hope? Well, the seperation of a decent backing tune to those infuriatingly off vocals are faithfully recreated. Surely somebody must have noticed this before? Thinking it was my ears I have invited listens from those around me who, I'm affraid to say have also cringed at the offending singing so its not just me.
The Tripps? A good idea, still-born by the basic flaw of singing really badly. Sorry but someone has to say it.
A sextet from Dublin (thats SIX... count 'em) may sound a bit weighty on the pay-role for your usual rock band but fear not, initial worries about anything being too 'busy' or a Slipknot style horde of musicians is quickly dispelled by a listen to Travega's highly polished post-modern rock. I have been checking one of their latest offerings 'Bullrun'. As rampant a slice of hooky rock with anthemic chorus' as you're likely to find on the unsigned circuit. With a nod in the direction of bands such as Interpol, The Editors and a bouncy sing-a-long chorus that The Killers would be proud of, but still with classic rock sensibility. The song is headed up the rich powerful vocals of focal-point, Andy Scott who has the nous to add some interesting hooks of his own with his voice rather than just belt it out. 'Bullrun' is also laced with the (very Killers-esque) Hammondy keyboard hooks, which gives it a very contemporary feel. The recording sounds like its had the cash of a lottery winner thrown at it. Excellent, high-end production, muscular tight drumming and a state-of-the-art mix. There isn't an ounce of fat on 'Bullrun' and despite Travega being arguably a guitarist too many, 'unsigned' band offerings rarely get to achieve quality like this without lots of money behind them. A professional piece of shiny, contemporary, bouncy rock that stands toe to toe with anything I've heard so far in '08.
So, with a rash of live dates coming up, a proposed album to be recorded in Vancouver (of all places) in the pipeline and one of those rather unnecessarily OTT "look-how-fantastic-we-are" bio's, for an 'unsigned' band Travega have a glossy veneer of a professional job well done, out of reach of the vast majority of unsigned acts. I don't know how they're doing it financially while still remaining unsigned but fair play to 'em -(ok I'm probably a bit jealous). I am looking forward to the fill CD
A top drawer single and, by the sounds of it, the rest of their tracks (tasters available on Myspace) are not far behind it either.
Review by Drumhead
RANK: ***** 5 out of 6
HERE ARE TWO TRACKS WE REVIEWED FROM TRAVEGA WITH SOME KILLER MELODIES AND UPBEAT ROCK TUNES.
THE PEOPLE
Reminds me of a theme tune from a good car chasing movie with it's colorful melodies and catchy lyrics this is a great upbeat in your face rock tune.
SPILLED MILK
Don't cry over it, not the song cause it's got some real cool complex rhythms and timing changes in it, this song has some great chart potential, lyrics are very well written and produced.
The Crazy Majority is the brainchild of Martin Sherlock from "Barnet and the South East" . Martin clearly loves what he does and when he describes his 'outpourings of The Crazy Majority' he ain't kidding. Because it seems that whatever pops into Martins head gets recorded. This isn't a criticism but after listening to 6 tracks you wonder if there is any game plan going on at all. Let me explain; To this reviewers ears what TCM does best is uplifting, bouncy ska such as the tracks 'Crack' and 'Obsessed' which do what all good Brit ska does and make you smile and tap your foot. It also covers a multitude of sins...such as Martins lack of range and the odd bum note. But then, each track you listen to takes you off somewhere completely different, there's the (quite authentic) country style of 'Goldrush' with its strong pick guitar, the rock - lite of 'Town' , a dirgy ballad in the shape of "Winters Tale" and then off again on a jaunt of Oasis style rock of CIA, each track different from the last. So you will see that this particular collection of songs are diverse and unpredictable. It has to be said that Martin's voice could do with a little coaching if he's going to continue to attempt the more serious rock tunes as he clearly struggles in places, but when in the familiar territory of ska its all good bouncy fun and he's at his best
First up on my swollen hard-drive are 3 tracks from an Australian duo by the name of 'Tea With Milk'.
Now, normally I don't look at names too closely as they're just a name, right? Unless the name is decidedly awful who cares... some of the best bands on the planet had pretty dubious names, look at The Beatles and Led Zeppelin. But unfortunately, these days, first impressions do count, never more so than in the 'unsigned' market. If I had to promote a band called Tea With Milk I think I might be having some issues. Their Myspace attempts to explain the name by saying "...Interpreting Tea With Milk...take two totally different substances, mix them together and you have something new altogether, thats tea with milk". To be pedantic, if you mix tea and milk, you still have tea, but I get the 'fusion' point. it doesn't help me though...
Ok, I have laboured the point about the name purely and simply to highlight that I think it potentially detracts from what is essentially some really great electro dance tracks. I would hate to think that the name you have hit on, prevent these tracks (Utter Bliss, Brother of the Universe and the sublime Surrender) getting heard. So what do we have here. Well you have a hooky fusion of retro feel digital drum patterns and old-school bass lines enhanced by producer/composer Lawrence's really imaginative use of mix and production (think Goldfrapp or Britney, circa 'Slave') all imperiously glammed up a really hooky, vocal from the enigmatic Justine Milburn that avoids cliche and category. To my ears Justine has more than hints of Alison Goldrapp, most recent Kylie and a big nod to Roisin Murphy, that has a real hypnotic appeal. One tiny bugbear is that the singing accent tends to swing between Australian and American, both are good in their own rights but its a little muddled on the ear when they slip between the two!
I could easily invisage that if the right face such as Timbaland or William Orbit got hold of these two they could be huge on the club scene. Name aside, these two have great potential and with a bit of spit and polish and a hearing from the right producer could make some awesome dance tunes that you'd never get out of your head. 4 out of 6 (5 with a name change).
Five piece band from Mullingar with some electronic indie sounds and catchy melodies can be heard from there demo tracks which has the potential of being a great EP.
So easy – Upbeat and catchy number with some nice vocals and very well structured melodies this song has an 80’s feel a bit like Blondie, it has great commercial properties.
Leave it – This song has a raw feel with some cool electronic melodies, the guitar work is fantastic and compliments the vocals very well the tune has some catchy moments and the lyrics are very well composed.
Bring it down – This tune has cool funk back beat with Happy Monday style groove, the vocals have a fantastic blues soul feel maybe the music might be out playing the vocals a bit but it still has a cool sheik style.
Missed chances - Abstract electronic melodies work well in this song the vocals are top class they suit the melody to the ground this is one tune will get a lot of airplay its got everything going for the tune, its cute and very catchy little pop number.
The work behind Thomas Leeb’s guitar technique is quite out of range with that of traditional guitar use. Thomas uses the instrument outside of any normal boundaries. Sounding at times like drums, piano, or cello, the performance is a finely tuned collision of unusual guitar use.These cascading sounds and experimental techniques are brought together beautifully with the detailed precision of a complex but striking arrangement. Thomas puts the same level of ingenuity to his guitar that the under-stage microphones brought to the Riverdance. His stage presence is a solo exploration of guitar tastes; a brilliant and crazy performance everyone should see at least once.
The Looks launch their E.P with a collision of sounds reminiscent of that late 90s plunge back towards the London punk era. Their energetic performance and spinning guitar sounds generate a Libertines-style stage presence. Their faster, busier upbeat, tighter songs are more coherent, and better suited to this kind of style, while some of their performed tracks lack this kind of remedy.
The Fundamentals played quite a tight gig alongside The Looks on the launch of their E.P. Epic and well arranged, they have a powerful sound. Their songs, full of dirty underground beats have some catchy rock trends that run on a highly radio-friendly note. Moving through varying sounds, including a surprising reggae beat, the band have an uplifting quality that is let down by their mildly bland lyrics.
Vertigo Girl, the debut album by The Cherries is an energetic and lively collection of songs.
While their animated pop sounds and liquid vocals are engaging, the distinct lack of instrument use on most of the tracks leads me to think their style would be more suited to live performance, or video. Their music is without the richness and instrumental arrangement necessary for a good recording quality, and the recorded tracks are quite detached from the atmosphere of their animated song writing. Nevertheless the Cherries are the owners of a highly stylized theatrical quality that would create a lively showcase atmosphere at any gig or festival.
Bizarre but interesting, this collection of songs do not follow many traditional mixing trends.
Though epic at times, the songs run more like music scores, touching on various styles and experimenting with different intensities. The songs do not narrate themselves from one stage to the next, but enter into complex experiments with sounds. While the songs lack the momentum and lifts generally associated with such techno styles of music, they do reveal some different, and flatter listening possibilities available to this kind of approach. Very technical and fluid, the style takes on its own explorative charm in this collection.
Singer songwriter from Liverpool in the UK with the release of this 10 track album It’s No Coincidence, this is an acoustic album with some fantastic vocals with a very jazzy pop feel, "Polite But Insincere" is the second track on the album this has to be the Ep spin off tune, sounds great very well composed and the vocals suit the track down to the ground. Tony's vocals seem to sing on the one level through out this album this can be a let down to a listener maybe try change dynamics in his voice a bit more, the sixth track "Fail" has a great making of a real good song but the big downfall is the vocals just a bit more passion from Tony or maybe this song may not suit him? The backing vocal however sounds fantastic. "Falling Back On The Knife" this track sounds and feels great with a double up on the vocals and a nice upbeat strum coming from the guitar gives the song a nice Latin jazz feel. Overall the album has some great potential but like most albums you have your favorite and your not so fav's
Achieving Vagueness" has all the element's of a great album with fantastic guitar riff's and upbeat song's with song's like 1981 and OUT TONIGHT this album is a must for the cd rack.
YOU AND I" in your face bass kicks this tune with a punk pop element trying to escape the melody some good lyrics and backing vocals very commercial with the over strumming of the rhythm guitar lifts the cool lively drum line that pumps out in this song.
NO ROOM" at first this tune reminds me of a U2 number but listen to it again it is very colorful with a bright guitar riff and mainstream dance feel with a rock feel.
1981" this has great feel to it with a catchy chorus and again the guitar melody sounds great, vocals in this song sound really well with some great dynamics holding the structure of the song together with some good lyrics to back it up.
LOST IN A SCENE" this song has more of a pop feel to it, the vocals floats over the melody and come back again giving an indie groove to the song.
SLOW DANCE" here is a song with the vocals expressing more and sound superb on this track there is a nice feel to this song it sounds more like an anthem tune excellent stuff, more tunes like this and The Flaws are on to a good thing
SIXTEEN" this is a song with a raw feel and the synth gives the song a spring of pop to it, lyrics a fantastic with a easy listening attitude.
IDOLISE" the rhythm in this song comes across with the elements of punk with a soft approach with some cool guitar effects and bashing drums, vocals lift the tune with a happy feel and sounding real good here.
OUT TONIGHT" this tune kick's in with a throbbing guitar riff and drum's vocals has a more rock feel to them but sound fantastic with a real good chorus that will have singing in your head after hearing this song.
THROW AWAY" a great intro to this song but drops a bit in the verses not one of The Flaws best track's on this album but very well constructed.
WINDMILL TALENT" this is a laid back song with a cool solid beat and the vocals sound superb with some real good control and dynamics.
TAKE AWAY MY BLUES - This tune has a great slide gutair and gives the tune a unique blues feel, vocals sound great with a excellent chorus.
CLOSE TO ME - The song has a sweet R&B feel, the vocal is very well placed and sounds great, a real catchy number cool.
TARGET - Here is a real chart topper its perfect in all angles, great lyrics vocals carries them well and the build up in the song is perfectly timed, great song.
The vocals kicks in this tune with a rock tone to bring in the Pulsating bass line with thumping drums, the melody gives off an punk feel with a twist of indie pop, there is a nice catchy chorus that you can relate to when your stood up or waiting on something good to happen, The Kybosh have a great raw feel and you can hear it in this song full of energy and full of talent.
Review by T.Halpin
Rate: ***** EXCELLENT
REVIEW OF THE EP RUBICON
Lots of melodic gutairs and very up beat pop/rock feel THE KYBOSH expresses through out this Ep with the into track "RUBICON"with its punchy vocals and upbeat drums and some great dynamics in this song and the effect coming from the gutairs gives the tune its strenth, moving on to the next track "THE FLOOD" kept on a nice grooving level the bass and drums play a great part to this song they give out a element of punk or maybe that might be a bit to harsh to describe the feel coming out of the rhythm the vocals however smooth out the beat with its flowing lyrics. The final track "TOO LITTLE TOO LATE" this song really kicks in with all guns blazing, here again the band uses dynamics very well bringing the song to its peak and back down again this is a real get up a doit tune good stuff, you have got to get your hands on a copy of this ep.
JOEY CORNETTO - At first this tune has a energetic punk sound to it, but nice changes a bit like the way THE KINKS use to do it, the concept for this tune is definitely there, the vocals have a very raw approach to them, nice up beat tune with a catchy chorus.
FRAME BY FRAME - The vocals are very well placed through out the song, has great lyrics and it is a real moving tune.
