Threepenny Thieves: The Medals Aren’t Mine

Though arguably not the most instant of captivations, The Medals Aren’t Mine the latest EP from UK alternative/punk band Threepenny Thieves, emerges as one of the more intriguing and refreshes releases this year. It is a collection of songs which rile up and challenge whilst offering a boisterous feast of wickedness to enflame mischievous urges. It is raw and instinctive rock n roll which with an abrasive touch lights up senses and thoughts. It is honest and in the face, just as good punk rock should be, and fuses it with stirring alternative rock sounds to make each track a unique and unpredictable experience.

Threepenny Thieves, with a name inspired by the musical The Threepenny Opera, was formed in February 2011 as a three piece by guitarist, vocalist and songwriter Mortie Pockett, who brought in long time friend Jake ‘Dreads’ McLewee on bass and drummer Nick Gray, who he met on his university course. The first year saw the band gigging and recording their debut EP Months, and notably the addition of Mikey Digby as second and lead guitar. The South England based quartet according to their bio makes music which is best described as ‘Biffy Clyro teaming up with The Cribs and fighting Two Door Cinema Club’. To be honest they are not the bands which spring immediately to mind listening to the EP but it certainly indicates the eclectic and diverse sound the band conjures up.

The release opens with Let’s Never Play Acoustic Again and immediately has attention firmly in its direction. The song takes mere seconds for its guitars to flare up with tight sonic play whilst the vocals of Pockett delight as they squeal and sing with a distinct expressive style. Though not openly infectious, the song has a tight grip on the ear with its thumping rhythms, energetically charged riffs, and guitar invention, whilst the vocals taunt with a caustic but appealing attitude. As this and the following Frozen Garage Joe chew and tease the senses, the sounds playing with their safety offer a mix of Reuben, ThisCity, and most of all My Red Cell. It is an absorbing and inspiring blend which once it has a connection thrills at every turn.

     Frozen Garage Joe surpasses the opener almost with its first sonic breath. The sense of something special coming is instant and once the discordance kicks in from the guitars, the immediate storm of dirty sounds and wicked intent is irresistible. Mid way in the song finds a stoner vein to heat and fire up the already riotous air of the song to make for a contagious and thrilling climax. The song especially as it makes its final crescendo, is very much like the aforementioned My Red Cell with Pockett having the same acidic and excited crusade of vocal harmonics which makes Russell Toomey from the other band so mesmeric.

Third song Genevieve is a slowly enveloping emotive ballad which taken on its own is an honest and strong piece of passion, but within the manic and bedlamic presences of other songs does initially feel an uneasy fit. It reveals another aspect to the sound and songwriting of the band though which with its closing climactic heart, ensures the song makes for an impressive selection even if it lacks the appeal of other songs.

Fighting Talk is a punk rock fury to again turn the listener into a breathless incited bundle of agitated enthusiasm, its attitude drenched challenge sparking only excited reactions. The track is a punchy taunt with an energy which is steely without having the aggressive and violent intensity to back it up, the sounds reflecting the great lyrical humour and tale.

Will Threepenny Thieves and The Medals Aren’t Mine be for everyone…it is unlikely as most inventive and boundary ignoring bands find a resistance to their imagination but if something different, well crafted, and individual is to your taste than this is a must investigate. Completed by a further three radio edits of its songs and a free download at the following http://soundcloud.com/threepenny_thieves/sets/the-medals-arent-mine there really is no excuse not to take some intensive time with the EP.

RingMaster 12/09/2012

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Rupert Stroud: Chasing The Night

It is always great to be hit with surprises and unexpected pleasures and in many ways even more fun when it is in genres and styles of music one does not usually spend many days with. The new album from UK singer songwriter Rupert Stroud is such a release. Chasing The Night is an eager and mesmeric array of thirteen songs which please and share multiple satisfying moments with the ear and infectious musical excursions with the senses.

Chasing The Night is not quite a flawless album, the hold on the focus slipping as it reaches its latter stages though one suspects that is as much down to the play order of the songs as it is a diminish in the sharp creativity on display. Each song on the release holds its own to varying degrees and never let attention or the eagerness to stay within their call wander. It is an album that also offers great promise and firm indication that there is a one sure masterpiece within Stroud waiting to evolve. Saying that Chasing The Night is itself a fine and rewarding collection of songs that puts the majority of similar fuelled indie releases in the shade.

The album is the follow up to the self titled which first brought Stroud to the attention, but is a more mature and defined release. It brings a vibrant blend of light and dark, its warm inviting breath tinged with shadows and hidden corners that light up the senses and emotions. The great thing about it is the sound has a full and rounded body not the expected acoustic only presence and this is down to Stroud bringing in Mick Bedford on drums, Kate Peters with wonderful backing vocals, and even more importantly eminent British producer Will Jackson (The Kaiser Chiefs, Embrace, The Cribs, The Music) who also provided additional guitars and keys as well as backing vocals. Though the music is stripped down and uncluttered as one would imagine it has a rawness that pulsates throughout bringing a depth and character to the songs and one suspects that is as much down to Jackson as the artist himself.

Nothing is over complicated on the album but nor is it just a mix of obvious hooks and invitations. Throughout you get whiffs of familiarity from chords, riffs, and melodies but without a defined source which adds to the pleasure and fine spicery frequenting the release. The opening 40 Days & 40 Nights immediately brings the ear to attention with its micro drum roll and precise guitar teasing in the first few seconds. They step back for Stroud and acoustic to open up the tale before accompanying him on an eager and boisterous b even paced romp. The song takes you into its world with a sure touch and irresistible beckoning with the great voice of Peters adding a sirenesque lure behind the vocals of Stroud.

It is an impressive start followed by the electrified air of Forget You and the monotone hypnotic Take Your Time. Both songs are enjoyable and have energy within their frame that continues on from the first song but they take a step back compared to its compulsive energy.  It is from this moment though that the album unleashes its heart and fullest might with a series of outstanding songs.

Hate To Say is the brightest jewel, a song that wraps around the emotions with a steely beauty and grace that feeds the fires within. Stroud comes over like a mix of Richard Ashcroft and Adrian Borland and it is immense with the incisive melodic grip of the song as captivating as the vocals. Its suggestive driven pulse which never finds its crescendo reminds of Pounding from Doves and just adds to the pleasure.

The equally impressive darkened Heard It All Before with a further stunning dual vocal blend of Stroud and Peters, the stirring almost primitive On The Run, and the pulsating shadowy No Love Lost which ignited passions once laid at the feet of The Sound, leave the heart throbbing with breathless excitement and deepest satisfaction. If with the opener these had made up an EP it would be there as a classic contender. That is not a comment on the rest of the album just how immense these particular songs are.

The album then changes back to the strong and enjoyable stance that the previously mentioned songs that followed 40 Days & 40 Nights brought.  The likes of the unsurprising blues toned Sunday Night Blues, the excellent Hangover with its great boozy strings, and the unexpected and unpredictable Tears for Now which features vocalist Haydn Corrodus from London Hip Hop/Indie/Soul band The Stow, offer up a varied and enterprising continuation to the album. This particular song is imaginative and adventurous though whether it truly fits the album is debatable.

Chasing the Night is an excellent album with a heart of songs that stir up emotions and feelings like so few others manage. When a song brings a wave of strong emotion as it pleasures you know it is something special and there is a handful upon the album. Rupert Stroud has given the area of singer songwriters a new and impressive flavour.

http://www.rupertstroudmusic.com

RingMaster 15/05/2012

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