Suggesting they might be the ones to give the British pop punk scene an invigorating new breath, Portsmouth hailing High Down have just released their first EP. Moving On offers five slices of ear pleasing infection carrying punk rock, each bearing a sound with a spikiness which alone commands attention and further investigation.
Emerging last year, High Down made a potent mark with debut single Family & Fiends, the track recorded with producer Matt O’Grady (You Me At Six/Deaf Havana). Its impact was followed by the band playing slots at the likes of Seasick Fest, Butserfest, and Teddy Rocks Festival as well as share stages with bands such as WSTR, Roam, and Like Pacific. It is fair to say that things are beginning to stir for the quartet, a motion sure to gain momentum through Moving On.
The EP opens up with new single Life Lessons, guitars instantly luring ears with their catchy invitation. It is an infectiousness which is as instinctive in the vocal prowess of Luke Smithson and the rhythmic stroll of bassist Tim Hoolahan and drummer James Grinter who it appears has since left the band. The energy of the song is bold but with an enterprising restraint, it constantly pulling on the reins throughout but blossoming from that same reflective control. Feet and ears are soon lost to its temptation, appetite to its mix of harmonic warmth and again reserved but open irritability.
Making History backs up the fine start with its own line in melodic suggestion and rhythmic persuasion, it too keeping a hold on its boisterousness but giving enough of a rein to stir the spirit especially within another rousing chorus. The guitars of Darrell Ellis and Joe Soar weave a captivating web of sonic adventure with the former’s vocals potently backing the lead tones and expression of Luke Smithson. There are no big surprises yet each moment of accomplished endeavour increases the song’s draw, a quality just as inescapable in next up All On You. High Down has been given comparisons to artists such as Blink 182 and New Found Glory, the third track with its high kicking beats and nagging riffs a contagious example of why. There is a greater fire in its belly than in its predecessors and similarly an even more imposing catchiness that commands attention and response as smart hooks and harmonic dexterity relentlessly tempt.
The acoustic seduction of Rescue Me follows with vocals and guitar crooning knowingly with thought and emotion. The song features the guest tones of Nottinghamshire singer Christina Rotondo, her vocal beauty a striking essence in the union with the similarly impressing presence of Smithson. With a rawer edge to its gritty finale, the track grows in intensity and emotion to truly hit the spot before making way for the pinnacle of the release. The best track on offer for these ears, Against The Tide instantly winds wiry tendrils of guitar around ears, their steely touch alone a keen lure but only tightening their invitation with their niggling prowess, one matched in dexterity and persuasive trespass by the muscular swings of Grinter and the growling bass of Hoolahan. It is a dynamic and imposing yet again seriously infectious proposal to bring the highly enjoyable encounter to a fierce close.
In many ways there is nothing overly remarkable about Moving On yet every moment it shares is rich in enterprise and energy whilst being backed by a potential which suggests High Down can have a big presence on the UK if not European pop punk theatre.
Moving On is out now and available @ http://highdownuk.bigcartel.com/
https://www.facebook.com/highdownuk https://twitter.com/highdownuk
Pete RingMaster 05/09/2017
Copyright RingMaster: MyFreeCopyright
The following White Flag potently backs up the great start; its enterprise similarly resourceful and ear catching without making over aggressive trespasses upon the senses. There is elegance to the First Signs Of Frost sound which charms as the craft of the individuals captivates; again making for a gentle almost smouldering seduction carried in a contagious and skilfully conjured proposal.
The following Mmm Cheque Please! makes a just as striking entrance, another single strain of guitar bait making the first lure, rampant beats and Luke’s inviting vocals the next before it all blooms into another infectious canter. Daryl’s beats resonate as they land and Tom’s basslines grumble as much as they seduce while Mary and Luke share a tapestry of hooks and melodic endeavour which only leads to a greater appetite for song and release. Admittedly the track lacks the final spark which ignites its predecessor but leaves pleasure bubbling eagerly as does Dirty Weekend with its more restrained but wholly magnetic presence. Repeating a prowess which confirms Hello Bear masterful at creating big choruses and ripe hooks which simply infest the psyche, the song lays lustfully upon the senses.
The EP opens with the brief melodic suggestiveness of Opus, its sonic touch a resonating shimmer aligned to a just as pulsating bass throb. It is a reserved proposal but one building in intensity and drama for a roaring climax, led by the voice of Harland, which drifts off into the waiting adventure of Ocean. Guitars and bass immediately collude to create a weave of fiery enticement courted by thick melancholic shadows, their enterprising union speared by the swinging beats of Kedge and hugged by the already impressing tones of Harland. It is a strong and engaging big step into the heart of the EP with things only blossoming to new and gripping heights song by song.
The Anchor opens up with new single Capsized and a rousing blaze of guitar and rhythms to seize the attention of ears and imagination. A slight breath is taken as the instantly impressive tones of vocalist Adam Smith join the flirtatiously groaning bass of Sam Powell, their tempting soon aligned to more melodic flames cast by the guitars of Ali Carvell and Lewis Sketchley. With a resourceful and eventful adventure shaping its body and gait, the song as it grows, becomes gets more contagious with very passing twist to a fluid vocal and musical roar.
The EP starts with a bang in the boisterous shape of Take It All. From its first lure of spicy riffs the song has ears and imagination alert, engrossed soon after as thumping beats join the provocative guitar bait. Swiftly followed by just as enticing hooks, it is a thrilling opening which never slips a gear as the song expands into a dramatic stroll equipped with still virulent rhythms, a wonderfully predatory bassline, and tangy guitar enterprise. Across this the excellent vocals of Shawn command attention as they spill the narrative over the track’s magnetic web of ideation. The song is unafraid to change its intensity, gait, and weight of textures across is enthralling body too but always it returns to that irresistible combination of sound and invention which set its thrilling presence in motion.
As impressive though the song is though, it is quickly outshine by its outstanding successor ONE19. The band’s new single, the irresistible incitement launches from a forceful caress into a prowling and anthemic, heavy stride of vocal temptation amidst a rousing tenacity of sound and energy. Reminding of the now demised Always The Quiet Ones, band and song create a rugged and invigorating tirade of riffs and rampantly rolling rhythms but equally explores explosive melodic enticement and vocal crusading. If anyone is looking for a doorway in EP and Of Allies, there is definitely no finer compelling way than through this blistering invitation.
Traces steps up next and the thumping beats of drummer Benedict Greenwood straight away mark the song, sinew swung swings and precise timing strong bait within a quickly growing emotive atmosphere. Vocals and guitars spin a colourful incitement to the awakening exploit whilst an emerging dark bassline from Jason Howard lays magnetic shadows in the sonic and melodic blaze skilfully conjured by the band. As its predecessor, there arguably are few real surprises within the song but its freshness and creative vitality brings a gripping persuasion which again floods Awakening, another short potent piece which really is the introduction to the excellent Bring The Roof Down. With an epic feel to its climate and an intimacy to its quieter reflections, the song is a tangle of keenly striding beats, flowing melodies, and spicy hooks, all switching and uniting across the anthemic and dramatic cry of the track.
The EP opens with Take The Reins and instantly encases ears in spicy grooves, hungry riffs, and punchy rhythms. Vocalist Aaron Roberts just as quickly brings his impressive voice to the affair whilst the guitar of Rhodri Williams provides a spiral of sonic enterprise and temptation. That new strength in songwriting and sound needs little prompting to show itself, as too a bolder imagination as the song slips into a gentle melodic embrace of voice and guitar. The thick swipes and rolls of drummer Tom Richardson keep an aggression bubbling though, eventually becoming the spark for a return of the opening impassioned roar of the encounter.
