Music and Liverpool simply goes together as obviously as any renowned duo, whether salt and pepper or Jedward and the toilet bowl, some things just are instinctively linked. The city’s music scene has spawn more than its share of great bands and legends and constantly throws more out to the world year after year. The Loud is one of the latest and the best to emerge recently, the trio from the Wirral producing music that has the unique quality of inducing nostalgia whilst having one of the freshest sounds currently being heard. June 20th sees the release of the single Amy’s Gonna Get You on 7” on vinyl and download followed not too long after by their debut album Harris Shutter, both on Liverpool independent Payper Tiger Records.
A self released sampler in 2010 saw heads turning their way further from home but with the release of their six track burst of garage psychedelic fuzz beat there will be a concentrated wave of enthusiastic interest without doubt. Their sound is an amalgam of various influences and shared loves of long time friends, guitarist and vocalist Pennington Lee and bassist Matthew Freeman. From such flavours as T-Rex, Velvet Underground, and 13th Floor Elevators to Jesus and The Mary Chain and The Black Angels there are familiar touches but all interpreted and then completely enhanced by the band’s own unique perspective with sound. Joined by drummer Leroy Oxton, The Loud are lighting up the music world with some of the most intuitive and senses stirring sounds, fusing instinctive melodies to scuzzed up garage post punk attitude.
‘Amy’s Gonna Get You’ opens the album and instantly one knows this is the start of a special ride. It saunters along swinging its wares against a throbbing bassline and firm drum beat. Lee’s vocals are earnest in their warning but also giving a sense of excited anticipation over the lady in question. The track is a joy, its distorted stroll engagingly addictive. A strong start that is instantly taken higher by the awesome ‘Horrorscope’, from its recognisable guitar opening, though from where eludes, the song stomps all over most music currently doing the rounds. Freeman’s bass rumbles majestically with moody belligerence as the guitars grind and chatter to give the track a neat punk feel.
A Little Taste of Home steps forward next sounding like a meeting of Jesus and The Mary Chain and the Pixies. Attitude soaked it simply stares you in the face and delivers a sentiment that one can interpret to their own current state of mind and place in the world. The Bolanesque There’s A Bomb In The House with its warm and familiar fuzzy glam rock feel equipped with T-Rex backup melodic vocal, sways into view next swiftly followed by the slow blues emotive Avida Dollars. This track and the psychedelic haunt of Magic that closes the release, bring a more soulful and effectively simple and slower pace to the album and if any criticism could be made of Harris Shutter it is that it ends on a marked downbeat that the replacing of one or both these tracks in the album’s song order will have avoided but as always it is down to a personal feel and not a fault.
Produced by Ross Halden (Wild Beasts, The lucid Dream), Harris Shutter is a wonderfully stunning release that on each play grows and elevates higher in opinion. Vocalist Lee quoted on the album “Harris shutter has been a labour of love. We had a great time making it and a better time doing all the things that it’s about. It’s worth all the shit gigs when you finally have the record in your hands. The way it’s all come together, the way it looks feels and sounds, I couldn’t have asked for any better, and couldn’t have asked for a better group of people than those who have been working on it. It’s pretty special man.” That sums up the release perfectly; you would be a fool to not listen to the creator and the album itself.
Pete RingMaster 14/06/2011