Earlier this year UK rockers EofE uncaged a rigorously captivating slice of muscular rock ‘n’ roll in the shape of Stars In Hollywood, the fiercely enticing single also a potent lure to the band’s forthcoming full-length. The same song roars just as mightily in the now arrived debut album from the West Midlands quintet, and around it are ten other inescapable rock pop anthems which prove the potential talked of in the band’s previous encounters is now a thrilling reality.
Formed in 2012, EofE has become an increasingly talked of and attention given prospect over the past couple of years with 2014 a highly eventful and potent time for the band. Fair to say it has in turn been eclipsed by this year’s success through the release of the aforementioned acclaimed single, touring the UK in support of Glamour Of The Kill, a highly praised performance as Download, and now one beaut of a first album.
Get Caught gets album and listener off to a rousing start, its dirty opening riff alone rich coaxing but quickly built upon by grouchy guitar play, rolling beats, and the instantly impressive vocals of Tom Harris. His warm melodic tones and quality are a perfect blend with the more agitated nature of the song led by the scything swings of drummer Nicky Waters and great groaning bass bait offered by the strings of Luke Bradley. As predatory as the song is, it is equally a blaze of melodic enterprise and catchy endeavour as guitarists Dan Bremner and Reece Luke spin their individual webs of seduction and fierce energy in superb unity.
It is an outstanding start to the album powerfully backed by both Wake Up and Bridges. The first is the band’s latest video single, another contagion of thumping beats and a gleefully prowling bassline colluding with fiery craft and guitar attitude. Working on body and imagination from its first breath, the song becomes an anthemic arousal of stadium rock meets virulent pop led superbly by the ever strong and enticing prowess in voice and expression of Harris. Its successor draws in some hard rock tenacity to drive its melodic hues towards a more enveloping catchiness, hooks and grooves a ripe temptation as it takes the listener on a feisty and invigorating ride.
A mellower but no less impassioned and magnetic draw is offered by Save the Night, it’s easy going indie croon further proof of the vocal strength of Harris and imaginative songwriting in the band. For sure the track does not imposingly grip as its predecessors but holds attention and satisfaction firmly in its creative, slight Fall Out Boy like hands before Waiting for Olivia also flows with emotive and simmering energy; though an earthy bassline and rigorous veins of intensity are perpetual fuel to the dramatic roar of the song.
Drifting on a sea of melodic and vocal reflection Lifeboat slips into view next, its opening elegance soon immersed in a thick tide of sonic fire and rhythmic badgering with both contrast subsequently blended in the tempestuous heart and resonance of one increasingly impressive incitement. The likes of You Me At Six, Young Guns, and Mallory Knox are often offered as reference to the EofE sound and more than most this track offers reasons why whilst providing its own identity, the same applying to Close to Me with its tapestry of tangy grooving, swiping rhythms, and vocal flames.
As stated before Stars in Hollywood steals its hefty slice of the plaudits building for the album, the track bounding in on a sonic lace around controlled but keen rhythms before everything swiftly stirs into a hungry blaze. Though things settle down around a stirring deeply throated bass lure and vocals, crescendos continue to brew, erupting in compelling choruses before the delicious cycle is repeated with further invention and imagination in tow across the irresistible anthem. The song alone shows all the attributes and ideation which makes EofE such an exciting proposal with Harris at the same time offering evidence that he is one of the most natural and captivating vocalist in British rock right now.
Both the fascinating Only Get Better and the Y.O.U keeps ears and a greedy appetite happy, the first with its fluid mix of melodic craft within sinewy aggressiveness, their companionship woven into an increasingly volcanic landscape in turn emulated by its successor though it at times brings a more punk like vociferousness to its dynamics. Each of the pair provides a lingering involvement before Ruins closes up the album with a thick rock pop roar which maybe does not match earlier conquests but leaves only the urge to go again.
EofE has announced themselves on the UK rock scene in big style with their outstanding album; they were already forcibly nudging it but now there is certainly no ignoring them.
The EofE album is released October 9th via Cream Records digitally via iTunes and on CD.
Pete RingMaster 08/10/2015
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