Here We Come is an album which might not be stretching existing boundaries or ideas of invention, indeed you would suggest it is not even trying to, but it is an encounter which introduces us to a potential soaked band with a sound which simply leaves satisfaction and enjoyment full. The release comes from Nebraska punks The Bricks and is receiving its broader unveiling courtesy of Raven Faith Records this month. Consisting of ten memorable if a little formulaic punk anthems, it is a proposition which leaves ears and attention wanting more of its old school punk rock.
Consisting of vocalist/guitarist Jimmy Hobbs, lead guitarist Chris Smith, bassist Kelly Turney, and drummer Mathew Lewis, The Bricks as mentioned has an old school feel to their raw rock ‘n’ roll but equally and in varying degrees infuse essences of oi, hardcore, and Street Punk amongst many spices, into its rebellious nature and sound. It is a faith based proposition which is not backwards in coming forward with the band’s personal emotions and praising but equally does not make it a focal point. This results in an offering from the Omaha quartet which will easily appeal to all punk fans and leave them with an appetite for more.
Recorded at Two Bird Dog Studio in Sioux City, Iowa, Here We Come opens up with an immediately delicious hook within the first few seconds of Just Like You. It has a ring of The Ramones to it which only adds to the instantly attentive hunger of ears and emotions. It is a familiarity which captivates with ease, continuing its potent lure as rhythms thump on the senses and the raw tones of Hobbs, backed by group shouts of the band, bellow engagingly. Like all good punk songs it is an easily accessible stomp for the listener’s body and voice, no demands or surprises being launched just magnetic punk revelry.
The strong start continues with the excellent Punk’s Not Dead, a song which stands toe to toe with ears like a mix of The Lurkers and Dead Kennedys given a healthy dose of US oi. Again the listener is enlisted within seconds to its boisterous persuasion, something all songs achieve with little defiance coming their way to be honest, and shown again straight after by Same Old Story. Not quite having the same spark as the first two, its character a little more dour, the track still provides an infectious and captivating proposal. Its midway slip into a more restrained and melodically aflame passage also reveals a stronger twist of invention adding to the enjoyable incitement.
Yahweh has a pop punk contagion to its otherwise simple and addictively persuasive offering, again a familiar tone soaking hook and riffs but once more leaving only highly satisfied ears and a greedier appetite. Whether in their next release or further down the line we will have the same feeling of satisfaction at being offered recognisable influences and flavours we will see, but right now it works a treat with its nostalgic charm. Proof again coming in the punchy Revolt and the masterfully anthemic Omaha Punks which follows. The first of the pair brings a more metallic essence to its riffs whilst vocals and rhythms lay down a great confrontation of punk persuasion, whilst its successor dips into the essences of The Clash and Angelic Upstarts for a predatory and gripping call to arms.
We Live flirts with whispers of ska and street punk next for an inescapably catchy coaxing of Rancid meets Social Distortion like tempting. As the last track, it easily has ears and feet engaged, and emotions basking in its old school and anthemically alluring intimacy. The same can be said about the Ramones bred Red White and True which strides resourcefully in next. Early touches have a more Clash feel but as the song hits its stride and chorus, it all courted by a great rhythmic antagonism and scything riffs, the NYC legends come to mind
The final pair of tracks ensures the listener is left energised and wanting more. Small Few is a middle finger defiance, driven by crisply jabbing beats aligned to a moody baseline and belligerent backing vocal calls, and inescapable addictive whilst the closing Some Day with less rigour lights ears with abrasing energy and inviting enterprise. More of a slow burner in persuasion compared to earlier songs, it still triggers pleasure fuelled reactions and brings a thoroughly enjoyable album to a strong close.
The Bricks openly wear their influences and passions in their music and it only rubs off on the listener. There are few new things to devour but plenty to provide one highly enjoyable encounter.
Here We Come is available now via http://www.ravenfaithrecords.com/#!product/prd1/3580537951/the-bricks-here-we-come
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