Audra – Dear Tired Friends

photo by Jaymz

A decade is a long time to be without something but well worth the wait when it comes to the new album from post punks Audra. It is ten years since the Arizona hailing band released third album Everything Changes and it is fair to say a great many have been eagerly and patiently awaiting its successor and just as simple to assume they are going to greedily bask in the dark beauty of Dear Tired Friends.

Formed in 1991 and primarily brothers Bart and Bret Helm, Audra enfold the inspirations of post punk and its numerous shapers alongside the eclectic imagination found in the likes of the Velvet Underground, Jane’s Addiction, Joy Division, David Bowie, James, and Tom Waits within their sound. As Dear Tired Friends proves it emerges a riveting often haunting embrace of intimate shadows and bewitching melancholy framed in post punk starkness and gothic rock romanticism.

An album which “deals heavily with loss and letting go” and described as “a testimony of the effect the last decade had on each band member”, Dear Tired Friends opens up with the song Tired Friends and took barely a handful of seconds to seize attention with the sizzle of Bart’s guitar across the bold but controlled rhythms of the band’s drummer, Jason DeWolfe Barton. From there pure addiction grew as the track unveiled its post punk prowess around Bret’s potent tones, the imagination only further ensnared as a calmer passage of reflection bares the heart of the track. It is a compelling and irresistible start to the album and quickly followed and matched by the outstanding Wish No Harm.

This is a song which began back in the early nineties and reappeared on a cassette they found when the band was assembling demos for what originally was to be a 4-track EP. Completed last year, Bret adding lyrics and melody to the original demo, Wish No Harm became the lead single for Dear Tired Friends and there could be no finer invitation to the album. The opening bassline was immediate manna to the ears, its lure unapologetic flirtation echoing the core essence of eighties post punk and only enhanced by the swiftly following enticement of vocals and guitar. There is something of Bauhaus meets The Cure to the song with a just as flavoursome tease of bands such as Leitmotiv and Gene Loves Jezebel but nevertheless stands unique to Audra and their dark imagination.

Another Fallen Petal is next up, the song a slowly unfurling piece of emotive solemnity and melodic intimacy within the mournful yet radiant embrace of keys. With the pure captivation bred leaving a lingering presence in thoughts, the song simply beguiled as too its successor, Drinking Yourself To Sleep. Fuelled by an instinctive catchiness bred in all tracks however their darkness and character, the equally enthralling song bears a glam rock lining to its harmonic stroll with psych rock currents in its breath.

Sunglass provides another romance of ears, keys and vocals almost crawling over the senses with the subsequent blaze of guitar sparking a Bowie-esque hue to the soulful and atmospheric piece of dark rapture while Planet Of Me steps forward with a knowing swagger to its rousing virulence. Featuring Mike VanPortfleet of Lycia as guest on lead guitar, the track is a weave of contrasts and stirring imagination; it as striking in its calm as it is in its lively eddies of contagious enterprise.

Across the fertile almost invasive liveliness of Sliding Under Cars and its Numan-esque poppiness, through The Sound/The The styled bold rapture that is Fireflies, and over the doleful but enslaving fascination of 1987 we can only say that Dear Tired Friends engrained itself deeper under the skin and into the passions before Falling brought it all to a close with its dark wave nurtured seduction. Volatility lies in the heart of the song, never fully erupting but teasing fiery emissions to the surface as it adds to the inherent beauty and splendour which lines its shadowy magnificence.

We all may have lingered ten years for a new adventure with Audra but we can tell you that every long second was worth the wait and more.

Dear Tired Friends is out now digitally and on CD and vinyl; available @ https://audra.bandcamp.com/album/dear-tired-friends

https://www.audramusic.com/   https://www.facebook.com/audramusic   https://twitter.com/audramusiccom

Pete RingMaster 28/11/2019

Copyright RingMasterReview: MyFreeCopyright

Elizabeth The Second – Two Margaritas at the Fifty Five

photo by Filippo Galvanelli

A handful or so weeks back Italy based outfit, Elizabeth The Second, unveiled their debut single ahead of their first EP. It was a rousing introduction to the trio and a flirty teaser for Two Margaritas at the Fifty Five, which now here equally suggests this is a band to keep a close eye and eager ear upon.

Consisting of Ben Moro (guitar and vocals), Michele Venturini (bass guitar) and Luca Gallato (drums), Padova hailing Elizabeth The Second spring a sound upon ears which is part garage rock, part punk, and an infectious amount of dirtily edged pop rock. Inspirations come through the likes of by The Clash, Blur, The Libertines, Artic Monkeys, Nirvana, and The Stone Roses; all hues which certainly flavour the band’s sound as too the breath of seventies nurtured power pop and nineties Brit pop.  For all that though, the band’s music escapes speakers with open individuality casting a great mix of familiarity and undisguised freshness.

Two Margaritas at the Fifty Five opens with that previous single and fair to say that No One Cares instantly grabbed ears with its first lure of guitar, its melodic clang equipped with a swing which is soon equally embraced by rhythms and vocals as the track hits its catchy stride. The fuzzy grumble of Venturini’s bass in turn takes over the virulence, its lone coaxing delicious before Moro’s guitar returns with its own shade of the contagion as Gallato’s beats bounce. The song is an irresistible slice of garage pop ‘n roll, its repeated cycle all the more addictive, and itself as a whole as potent as when it graced ears alone to provide a great start to the release.

Its persuasive traits are keenly embraced and built upon across the following tracks too, Mickey weaving its own infectious blend of pop and rock in a boisterous proposition blessed with lively rhythms and a spicy hook. With its body woven from an array of flavours and Moro’s vocals further great persuasion the song effortlessly hit the spot before Yesterday I Was 20 stepped forward with matching prowess. A sixties hue teases from its melodic grace as that power pop essence fuels its shuffle, the song in some ways reminding of bands such as Purple Hearts and The Chords and though it did not quite raise the passions as those around it, there was only pleasure and an appetite to indulge again in its infection.

As its companions the following Soho revels in its catchiness and playful enterprise, melodies and enticing hooks as manipulative as the roar in Moro’s voice and the dexterity of the rhythms driving the song, let alone the imagination gluing it all together. Again an array of styles make up its character and voice before it leaves the just as potent Gimme One Euro to bring the EP to a spirited close with its own recipe of just as varied ingredients and flavours. As with every song on the EP, pop, punk, and rock essences meld perfectly with the classic rock wiring which escapes Moro’s guitar especially in his spice rich solos and in all tracks there is nothing which allows attention to be cast elsewhere.

One superb single and one addictive EP, there could be a rather rosy reign for Elizabeth The Second ahead.

Two Margaritas at the Fifty Five is available now digitally and on CD @ https://elizabeththesecond.bandcamp.com/album/two-margaritas-at-the-fifty-five

https://www.facebook.com/elizabeth.the.second.band   https://twitter.com/Elizabethe2nd

Pete RingMaster 28/11/2019

Copyright RingMasterReview: MyFreeCopyright