Called Diversions, the new EP from UK rockers The Lightness Of Being is just that, a diversion from the bland and predictable in sound and life and one ear thoroughly compelling distraction it is too. Formed in 2010, the London hailing outfit has already uncaged a pair of attention stoking EPs to date but are surely poised to flare up on far bigger and broader radars with their new offering.
Inspirations are said to come from the likes of Queens Of The Stone Age, Mastodon, and Deftones but the three tracks within Diversions show they are influences immersed in the quartet’s own and still growing character of sound. Each song is individual to another and all cruising along the fine line between seduction and predation with relish and imagination.
The EP opens with Bottomfeeder and immediately nags ears with a line of controlled but lustful riffs punctured by just as eager beats. The vocals of guitarist/keyboardist Gabriel Lim rise up within the quickly delicious bait bringing with him menace and intimation which subsequently inspires a ferocious squall; it’s settling back down the spark to repeat the delicious cycle. Fresh drama blossoms by the minute though, new instinctive strains of rapacious enterprise as dark and threatening as it is captivating. There is also a touch of early Therapy? to the song which only adds to its striking presence and persuasion.
Cave follows, a song openly embracing that Deftones inspiration. Its atmospheric caresses provide a mellow sigh to complement the similarly calm tones of Lim, the guitar of Sam West a radiant shimmer alongside as the mist of keys is slowly walked through by the sombre but magnetic stroll of Chris French’s bass. With the crisp beats of Sergiusz Brudek adding their inviting touch it is an infectious calm yet there is a sense of disturbance glimpsed in its depths, one which brews and festers until erupting in an immersive wash of volatility and sonic intensity. We cannot say that the song sparked the same richness of reaction and pleasure as its companions just due to personal tastes but there is no denying that it had ears gripped and appetite feasting before drifting away.
Closing song Refute took our favourite title, its blend of voracious punk ‘n’ roll and dark rock with grungier/alternative rock devilment quickly getting under the skin to incite and manipulate rock ‘n’ roll instincts. A host of flavours make up its swinging escapade, each a fiercely flavoursome spice aligning it’s almost garage punk instincts; just a shame it only lasts two minutes plus but a brief time which had us bouncing and growling.
There is plenty seemingly familiar about the sound of The Lightness Of Being but nothing less than fresh and individual to the band all the same. It is a great mix which makes Diversions a rich listen and the band ones to keep under close scrutiny.
Diversions is released 1st June.
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Pete RingMaster 29/05/2018
Copyright RingMaster: MyFreeCopyright
The first of three tantalising instrumentals starts the album off, Riffocephalus Minus a lure of crisp magnetic beats and meaty riffs swiftly bursting into a fiery proposition, though just as quickly that in turn slips into a harmonica led flirtation before evolving once again. It is a sign of things to come, of the unpredictable devilish antics on offer.
It is an outstanding start reinforced by the senses transfixing tale of The Ghost of Rab McVie. Strings and their electronic counterparts quickly infest the imagination, the first from the suggestive touch and craft of Susannah Clark. Metcalfe is soon within their descriptive midst, voice similarly nurturing thoughts as the song leads the listener into its melancholic heart. There is a beauty to it though which just seduces ears and imagination but with an earthiness keeping the dark surroundings fully in view before the album’s title track provides the gateway into a nefarious journey. Feeling like being trapped in a Celtic Wickerman driven nightmare, the song simultaneously overwhelms, indeed suffocates, and seduces all with increasing intensity. It is quite superb with the craft of Clark simply irresistible.
From a scuzzy wind This is Bliss springs an indie meets garage punk incitement which had the body rocking with swift submission, Gravves tempering its punk causticity and elevating their cunning imagination for virulent hooks and invasive swings. Like a mix of the St Pierre Snake Invasion and The Eighties Matchbox B-Line Disaster, the track quickly had juices running as too did successor Sinister Surf. Emulating its title in flavour and noir lit breath, the track simply haunts as it prowls the senses, seducing and invading with sublime ease and touch even as its tantalising grooves erupt with caustic emotion and intensity.
As opener Cry Wolf explodes on the senses, instantly there is no escaping the rapacious presence of band and song, and indeed the magnetic tones of Le Rox. Her attack is as urgent as the sounds around her with a hint of ‘desperation’ to its lilt though really it is just an earnest bred eagerness to stir things up, again just as the individual garage punk sound Pretty Pistol unleash. Riffs and rhythms collude in devious persuasion, getting under the skin as forcibly as the flying hooks and that glorious verbal trespass. There is a touch of Asylums to the track too which only adds to its virulently striking presence and to be honest if the goodness stopped right there we would still be urging attention the EPs way.
The voracious design of the album simply continues with the next pair of Wrong and Start Again. Not for the first or last time across the album, there is a whiff of seventies punk band The Cortinas especially in the first of these two with its sharp almost spiky hooks and instinctive catchiness while the second uncages a riot of bullish rock ‘n’ roll as punk as it is fifties scented honed into another irresistible and individual Nosebleed infestation.