UK outfit Reckless Intentions might be primarily tagged as pop punks but as their debut EP shows, they have an instinctive devilment and creative belligerence which reveals there is much more to their aggressively magnetic sound.
Embracing inspirations from the likes of Green Day, The Clash, and Foo Fighters through to others such as All Time Low and Moose Blood, Reckless Intentions host varied flavours in their music which is clearly audible and potent within the Lights EP. Equally, the Brighton hailing quartet bring an individual character to their songs and presence which is maybe still slightly more potential than realisation but is already helping shape them into a prospect which stands out.
Formed in 2016, the band concentrated scene last year on establishing themselves on the south coast music, and successfully so, before linking up with Alex Gordon at Brighton Electric Studios to work on and record their first release in the sprightly shape of Lights. With its five boisterous tracks, the EP quickly shows it has the intent and energy to stir up richer attention the way of the foursome but more so the imagination to make Reckless Intentions a rather exciting prospect.
The EP opens with the outstanding Ghost Town, a song swiftly making a successful claim for best moment and most potent lure within Lights. With a great slightly off-kilter indie rock revelry to its punk rock tenacity, the track like a mix of Asylums and The Wildhearts, things are swiftly bold and sweaty as the swinging beats of Josh Woolnough scythe through the nagging riffs and spiky grooves of guitarists Matty Halliwell and Lewis Horsley respectively. The energetic vocals of the former equally inject an energy and fresh identity to the encounter, it all colluding in an adventurous and unpredictable mix driven by the alluringly throbbing groan of Laurence Burkitt’s bassline. In no time body and vocal chords are enlisted by the arousing antics of the song, its dynamic and almost bitchy start the perfect introduction to Reckless Intentions.
Stitches, the band’s latest single is next, its melodic bait and harmonic enticement quickly flirting with ears. The hooks of Horsley beckon within a more familiar temptation of sound; the track openly sharing All Time Low meets Brand New like essences within its infectiously swinging exploits. Halliwell again makes a potent vocal lead, his tones giving the track something more unique than other pop punk outfits though something its enjoyable sounds arguably lack a touch. Nevertheless, the song hits the spot before evolving into the short instrumental of the EP’s title track, a piece which neither detracts or adds to the overall strength of the release but keeps an appetite for its adventure on board.
The following Outcast only enriches the fun though, its instant Smash Mouth like swagger led by the ever flirtatious bass easy to get hooked on prime bait with vocals again a strong pull at its core. Becoming more punk ‘n’ roll with every lively beat and niggling riff, the song growls at and flirts with the listener, all the time brewing a pop catchiness which has hips enlisted in quick time. The song also reveals yet another hue to the band’s songwriting and sound, a variety exposed once more by closing song Home. With his own suggestive piano melody alongside, Halliwell plaintively croons from the speakers; melancholy lining his words and fingers. Alluring ears with ease, things only become more intense and potent as the band eventfully bring their emotion and craft to the reflection; the song catching fire with pop punk catchiness caught in an emotion soaked blaze.
It is a fine end to an ear pleasing first delving into the Reckless Intentions adventure, the first of many more highly pleasurable unions if they build on the undoubted potential and fun of Lights.
The Lights EP is out now across most online stores.
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Pete RingMaster 18/07/2017
Copyright RingMaster: MyFreeCopyright
Bitter End similarly has some restraint in its gait also but welcomes thicker shadows in its climate as synths with a Nine Inch Nails like air wrap the senses. Again there is a great drama and energy in the vocals whether they emotively croon or passionately roar, a blend matched in the sound as the track blossoms turn by turn. Built on emotional and physical crescendos, the song is a magnet for the imagination, only increasing its potency with every listen, as indeed does the EP, as fresh layers are discovered.
Nevertheless, songs like the following I Was Born only add to the adventure and potency of the release, its own blues steeped character and saunter providing a host of fiery grooves and ear pleasing hooks as the band shows more classic rock traits. Soon developing its own personality to quickly give greater variety to the band’s sound and EP, the song saunters along with a creative prowess and imagination easy to get engaged in, epitomising the release as a whole in becoming a stronger and more compelling encounter over a subsequent handful of listens.
With bassist Jacob Roos and drummer Callum Green alongside Wynen, Gelato gets down to business upon Weird with You Ain’t No Match. As jabbing beats set the tone and gait, wiry riffs lay tempting fingers upon ears, their intermittent lures soon a constant bait of intrigue loaded persuasion. As vocals join with variety and energetic persuasion, things mellow out a touch but still with drama and bite to keep the song sparking in ears. Warm harmonies and tangy grooves all add to the magnetism of the impressive opener and its web of creative seduction.
Similar textures unite for the melodic pyre that is Horrified; the track growing more inflamed and tempestuous as wiry melodies entwine tenacious rhythms but also ebbing and igniting again like a sonic fire. There is a certain Foo Fighters air to the track while its successor I Love Creationists taps into Nirvana inspirations for its outstanding and bracing punk ‘n’ roll. It is an agitated treat with the boldest mischief and imagination at play yet within Unfaith, ensuring it’s less than two minutes of devilry is unforgettable.
I Tried To Leave brings a lighter poppier tone next though bass and drums still have that enjoyable crankiness as the pair explores a more Jane’s Addiction flavoured adventure. Every twist and turn in its intoxicating blaze brings fresh ingredients to devour, a psych rock invention only adding to a mouth-watering stomp before Who Wants to Know turns the album’s charge into a prowling, dark toned trespass. Vocally Higgins and Chow conjure a bewitching union whilst sonically the song sears the senses as rhythms dance on the debris with ridiculously infectious wantonness. A subsequent passage of relative calm enables a blues laced groan to emerge, its restrained air remaining as the track expands again until its volatility surges through ears as Chow’s harmonic lures beckon like a siren.
Last year was a big and eventful year for the band, seeing them play over 40 gigs across the capital and beyond ending with a UK tour around their latest EP. It also saw The Survival Code settling down to write a new album, go through a change of bassists, and endure “a manager that ran off with months of work.” One ensures that 2017 is kicked off in fine style for the band, a year already threatening to exceed its predecessor in success and adventure.