The Contrast

For those who are not familiar with their work this is a stunning fourth album by the band originally from Peterborough in the UK but who primarily work in the States. This band are difficult to categorise - Dave Reid has developed across four albums into a songwriter with real depth and his guitar playing touches many bases from beautiful 12 string chord layers to urgent stabbing rock. The songs work on several levels - musically very accessible with echoes of REM, XTC and The Pursuit of Happiness but with a lyrical depth that satisfies repeated listening. Andy Hawkins production and engineering is perfect, not too overblown but with enough depth and thought to really bring out each song especially with regard to Dave Reid's distinctive vocals. Highlights for me are 'ink' and 'mean' but there's not a filler track on this great CD - Amazon.co.uk

Excellent 2005 releases from The Contrast who sound like long-lost cousins of Pat DiNizio and The Smithereens throughout this fine, fine record! Little Steven continues to get bahind this band on this, their forth release you`ll find armies ischiming guitars, overflowing energy, crafty guitar interplay(think a mod-ish Television) and infectious grooves, all tinted with a rose colored neo-garage rock glow. Like the previous albums there`s some jangling guitar, bits of psych-pop and solid vocal/melody balance in the vein of Elvis Costello and some REM, perhaps. This is the album, their 4th, where the band really settle down into a classic style of jangled, but not overly polite rock, pop `n roll. Listen to the sounds below and know that the 14 songs here pass refreshingly and allow for fulfilling multiple listens. Extremely Highly Recommended! - Notlame

Just when you think the motherlode of '60s-style garage-pop has been strip-mined down to sand, somebody finds a fresh seam of vintage sounding pre-psychedelic jewels. That's certainly the case with the Contrast's sophomore CD "Fade Back In." Anchored by the singing and songwriting of David Reid, this British quartet plays Hollies/Byrds-derived rock with all the snap and tightness of surgical gloves and a truly addictive melodic sensibility. Album opener "Give Me One More Chance" pours out in a shimmer of electric 12-string Rickenbacker chords while "George Zipp" is a deliriously catchy study in crisp, classic power-pop. Living up to its name, the Contrast also uncorks both U.S.-style fuzz riffing on "Catch the Spark" and dreamy balladry on "Something Tells Me." There's nary a bum track on this 12-song hook-fest, and anyone with a jones for "Nuggets"-style rock will find the Contrast a blissful fix.
- Rick Reger - Chicago Tribune (Published May 9, 2004)

You may find it hard to believe, listening to this sparkling collection of power pop songs, but The Contrast are from the East Midlands. Their music, however, is firmly rooted across the Atlantic. It's choc-full of jingle-jangle guitars, creamy harmonies and a verve and dynamic that sounds like the album was created in a recording studio in New York and not in homely Peterborough. There's nothing homely about this, The Contrast's second album. Sixth track, Your Starring Role, features darkly chopping guitars reminiscent of Television, while Smart is The Jam revisited. Guitarist Dave Reid reckons Fade Back In is the band's most satisfying release yet. True, since their debut, Mystery 1, the sound has toughened up and the guys have developed a real identity - shimmering, catchy pop songs, lyrics that are worth following and a fine balance between rawness and sophistication. I think we have found a worthy successor to Teenage Fan Club.
- John Stacey
- published, may04 by erasingclouds webzine & netrhythms webzine

Like an amped-up version of the Byrds (as so many bands are), The Contrast are a crisp, bright and tight-as-hell package. The lyrics are smart and smarmy (as are song titles such as "Functional Punk Pop Song") and the whole album is thoughtfully delivered with almost nothing wasted. With a recently settled four-piece lineup, the band makes the most of their dual-guitar stage plot and solid vocal harmonies. More importantly they can slow it down without completely derailing the album. David Reid’s earnest vocals meld perfectly with bubbling lead guitar lines delivering what Rainbow Quartz has been promising all along – perfect guitar pop.
- Jason Lewis - ffwd weekly (published May 2004)

After being considered "one of the greatest bands on the planet " by Little Steven Van Zandt I guess it would be safe to say that The Contrast have lived up to their expectations in being able to create music "they can get a buzz with when listening to " because it at least has Springsteen's guitarist red eyed. Their third LP Fade Back In may not be a supplement for mind-expanding ventures but undoubtedly has more than enough melody to fulfill any pop rockers fix.
The major differences between The Contrast and any other run of the mill pop act is singer/songwriter-guitarist David Reid's poignant English accent and a song catalogue especially with their latest contribution, that is gut wrenchingly real and inviolably beguiling. Despite blatantly obvious REM sounding riffs emerging at various points, Fade Back In does not lack in the originality department but makes its mark with a sophisticated and mature garage sounding edge that merges the rock with the pop. Unfortunately it's almost devoid of ballads for the exception of the powerful and awe-inspiring Something Tells me and hammers listeners with a succession of catchy pop rock tunes like George Zipp, The Guilty Party, Functional Pop Song, Smart and Disconnected just to name a few. Is the Contrast the greatest band alive? Maybe not, but they certainly have more than one up on many others from the same genre that lack their ardour and flare.
- Adam - www.orcasound.com (July 2004)

It seems only a few years ago that bands like REM and the Jam were first bursting onto the scene, proclaiming their unabashed devotion to earlier icons like the Who and the Byrds. So it’s certainly a sign of the times that today’s up-and-comers take their cue from those that took up that musical torch and kept those ‘60s sensibilities aflame. The Contrast is a perfect case in point. On Fade Back In, their riveting new album, this British band effectively extends their retro stance to encompass the last four decades without ever sounding like they’re mimicking any one source in particular. So while David Reid frequently recalls Michael Stipe in his delirious delivery and the group’s brooding-yet-defiant stance begs comparisons to Paul Weller and company, their edgy, exhilarating approach ensures an individual identity. Still, despite their relentless drive and a frequently contentious attitude, they’re not without a sense of humor. “You didn’t deserve that exploding cigar,” Reid laments on the remorseful “Something Tells Me”. “I’m the one with the brains...but I’m not very smart,” he admits on the riveting rocker “Smart.” It seems that’s what this Contrast is all about.
- Lee Zimmerman - Amplifier magazine, July 2004

The Contrast has so far received much acclaim but little notice for its clean, sleek guitar pop, but hopefully Fade Back In will alter that situation. Leader David Reid and his crew don't bother with gimmicks, guest stars (other than an endorsement from Little Steven) or anything that will pull attention away from the music. As well they shouldn't—tunes like "The Guilty Party," "Flatpacked" and "Catch the Spark" stand quite well on their own considerable merits. This should be the record that catapults the Contrast to at least cult stardom.
- Michael Toland - highbias.com, August 2004

The Contrast have refined their sound some and made it even more their own in their third album, the newly released Fade Back In. As the band grows ever tighter as a playing unit, and prolific lead singer/songwriter David Reid grows more comfortable at the mike, producer Andy Hawkins has chosen to punch up the vocals some while capturing the rocking sonic mix of guitars and harmonies that is The Contrast.

Hailing from the East Midlands (Peterborough, to be more specific), this quartet produces a sound that calls to mind many bands that have gone before (among them the jangly Rickenbackers of The Byrds, the sonic guitar force of Bob Mould in Husker Du or Sugar or as a solo artist, the guitar-swathed vocals of early R.E.M., the poetic moody rock of Television, the swagger of many a raw garage band, the anger of a younger Costello or Jackson or Parker), yet they remain true originals, carving out a sound that is distinctly their own.

Gone are some of the jazz/blues leanings from the latter part of their previous release (Wireless Days), replaced now with some retro psychedelic influences. Overall, Reid has said this is the bands' "most focused and direct stuff" and I'm inclined to agree. Fans of The Contrast's sound will be very pleased with this new collection, and it's a great starting point for those eager to hear what Reid and his music are about.

The band plays with familiarity and infectious energy, and that fun translates well to the finished product. Comprised of Rickenbacker maestro Reid, Spencer Hart on harmonies and guitars, Richard Mackman on bass and James Crossley on drums, The Contrast are the musically brash angry young men we'd all like to be, honest, punk, pop and self-deprecating in a witty way.

"Give Me One More Chance" opens aptly enough with ringing guitars that open into a solid Crossley beat. It's a tale of a guy asking for a second chance, but structured in such a way that his ardor chills from verse to verse. He's less eager it seems by this second verse: "I don't believe you when you tell me you never gave me up / I know you don't have good allegiance and all your ethics suck / I'll be somewhere in the background just watching you screw up / I will call you when I can if you give me one more chance."

The middle bridge solo features a fine Byrds-like guitar lead, backed by superb bass work from Mackman.

Many of Reid's songs are beat driven and the infectious "George Zipp" is no exception, sporting a strong rhythm of equal drums and guitars. This is a tale of post-altercation friendship (or the questioning of it), as one chides another's actions and desires: "On the floor and raving / I'm not sure if you're worth saving / I can't give you the love you're craving / Don't ask me to try."

Reid's confidence with the guitar is apparent on these songs - he's in control of every note and very in sync with his bandmates. One of the strongest offerings here is "Forget It," another tale of disenchantment and fatal inaction, giving in to giving up on another: "You may as well look the way you do 'cause the wind will never change / You may as well say whatever you like 'cause you know you were always strange / Did you dye your hair - did you think I care?"

"The Guilty Party" is another infectious number, rife with harmonies and guitar hooks, quiet moments and lyrical censure. I'm not sure of the precise reference here, but seems like you can't turn on a television without confronting some "ecstatic guilty party" parading before you.

Reid and company go psychedelic retro on "Catch The Spark," complete with fuzz bass.

This is a call to action, a warning of impending doom in the face of the current state of things: "The devil's right outside my door / the mist is thick, it's a real downpour / I just threw my TV at the wall / We've got to hit the ignition / try to catch a spark / We've got to hit the ignition / before it all goes dark."

The psychedelic vibe continues through to "Your Starring Role," a lyrical bombardment chastising one whose fifteen minutes of fame is underway with paper thin friends, plenty of senseless personal changes and empty hopes: "You are a controlled explosion / Firing repressed emotion / Inventing new self-doubt that's closing in."

On his previous album, Reid offered up a "Drop Dead Gorgeous Love Song." Here we get his "Functional Punk Pop Song" - and it's that and then some, embracing the energy and anger along with the tuneful fun. Kudos to Crossley, who manages to really propel this short tune far beyond functional.

And speaking of drop-dead gorgeous, I can't say enough good things about the chillingly spare ballad "Something Tells Me." Reid's halting voice and sweet guitar take center stage, and you're not likely to find a more emotionally honest reading anywhere. With humor, insight and love, Reid sings of a delicate friendship gone wrong, someone formerly strong who has turned wrong and isn't likely coming back. Reid doesn't o - popmatters.com, May 2004

Like Reckoning-era R.E.M., the Contrast invoke rural landscapes where lovers weep over fieldstones and leathery farmers listen to Big Star. Frontman David Reid rolls out streams of pop culture references and wistful romantic angst in an often impenetrable English drawl that owes as much to Tenpole Tudor as it does Michael Stipe. On the Contrast's third release for the U.K. indie Rainbow Quartz, the Peterborough jangle pop quartet expounds on the brooding, guitar-driven sound of 2002's Wireless Days with a winning combination of punchy rave-ups ("Catch the Spark") and hook-filled road songs ("Give Me One More Chance"). Comparisons to Television and Material Issue are apt, but this time around the group leans more toward the angular attack of Spoon and the '60s melodicism of the Smithereens. Fade Back In resonates with the steely confidence of local boys in their milieu, and psychedelic flourishes like the backwards guitar breakdown on "You're Starring Role" and the serpentine chord changes on "Disconnected" show a band that's beginning to come into its own. — James Christopher Monger
- www.allmusicguide.com, May 2004