Peeling Grey

“…the group looks towards the future of music…..Akin to the original spirit of the past.”

I like that, and when you regard the Post-Punk spirit it seeped firmly out ofthe rotting carcass of Punk but was dispersed unnecessarily by the strong growth of Goth and a formulated Indie sector. Only when the Indie world slumped horribly during the 90’s did Post-Punk’s noble sentiments of melodic music with tensions reassert itself but it never had one form and so can move in any direction.

‘Peeling Grey’ has the cool organic slouching feel that so much modern music lacks, and that comes from the easy, lolloping drums, with guitar scurrying around or leaning casually into the mix. Astute, elliptical vocal shapes also merge into it, pulling in then back creating a charming nagging flow as the guitar grows in brightness. ‘James Quarterly’ has a warm set of guitar ringlets on its downcast head and despite quite a restless bass undertow and steady keyboards it’s the nervy vocal push which grows in strength to dominate the song, again instilling a rhythmical presence. Keyboards set ‘The Strip’ off running, tripping, stumbling gamely with well fluted décor and encouraging nimble guitar vigour. Again we are blessed with an indomitable but twisting vocal stature, and bolder bass strokes.

‘The World’s Not Sorry’ opens with some beautiful organ, sleepy bass and vocals pleading for resilience, because this is not the time to cry, apparently, or fade out, hide, compromise or die. Suitably invigorated, I vow to do none of these. It’s a real charmer. ‘Far Away’ gets a bippity-boppety beat, with lightly fretful vocals, tingling guitar and as it empties out you realise just how firmly they create an atmosphere you’re hooked into. I feel they should bring the bass forward more as it enhances everything so well, ‘Sleeping In Dirty Hands’ bustling forward as the weird lyrics spew out over jerky guitar that grows increasingly restless. An odd song. ‘Summer Days Unsaid’ is also fairly low key, not exactly uneventful but happily remaining on the floor sustained by a pale drum pulse and keyboard lungs.

‘Young Heart’ is a cheerful little poppet with sparkling keys and trickling guitar, ‘Soulless’ sachays sideways like a drunken crab, bobbling bass, skipping beat and vocal fun, ‘The End Of The Road’ huddles closer to its tiny shuttling beat with brooding bass and moping guitar as the bleary vocals evaporate but the tension is back leading to an abrupt halt, then the bass enters like a confident assassin, the drums are tougher and ‘Faith In Forever’ clearly means business. It cleverly collapses into a softer direction and ends on another catchy element which takes you by surprise but makes for an emphatic close.

It’s a wonderful record. It could be crisper in places, but I get the impression they like the faintly shrouded sound. They could lash out a little in future, because they have that energy in them, but for a first album this is a real treat, filled with fascinating variety and delivered with that rarity,

aplomb. A-plomb.”

~Mick Mercer, Sept 2011



- Mick Mercer