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.
http://www.recklessintentions.co.uk https://www.facebook.com/recklessintentionsuk/ https://twitter.com/recklessband_uk
Pete RingMaster 18/07/2017
Copyright RingMaster: MyFreeCopyright
Again the new release sees the band drawing on the seeds of punk rock across the decades and from both sides of the North Atlantic, infusing all into their own individual hook strapped, melody shaped songs. The EP opens up with the irresistible Alone Together, a track “all about the strains of relationships whether that be romantic or political.” It opens up with a delicious old school hook, raw bait surely nurtured from a Ramones/Stiff Little Fingers like inspiration. Soon rhythms are jabbing at the persistent lure, in turn the potent vocals of Mercy flirting with ears and matching the infectious strength of the sounds around him. The melodic boisterousness and craft of lead guitarist Matt Lee only adds richer colour to a song already gripping the imagination and body with its chopping riffs and rousing rhythms.
Emerging from the creative linking up of singer/songwriter Sam Wyatt and guitarist/songwriter Adam Bailey, Escapade stepped forward in the autumn of 2015 with the band growing from an acoustic pairing of the two with the addition of bassist Jordan Alleston and drummer Martin Wenham the following year. Their first EP and its single stirred up a wave of praise and support the way the band, including that of Kasabian’s Tom Meighan, and is sure to be matched and easy to suspect eclipsed by the reaction to Red Sky.
Once again Broadcasting To The Nations is a proposition brought alive with the distinctive Authority Zero mixing of SoCal punk with reggae and ska and as ever delivered with a host of swinging hooks and anthemic dexterity which has lured persistent acclaim the way of their music and releases. Within the new album though, it all seems to have found a new appetite and imagination; like the quartet has reaped the best elements from previous successes and honed them into their keenest most rapaciously rebellious but fun adventure yet.
Don’t Follow Me leaps in next, its body and character just as aggressively relishing the trespassing of the senses. Managing to prowl around at the same time as devouring them with rapacious energy, the song snarls and growls with the hooks of lead guitarist Nick Jones inescapable and the bass taunts of Dave Parker gripping, his backing vocals to Jones just as persuasive.
From an initial guitar lure wrapping its melodic tendrils around ears, the song swings into vibrant action as crisp beats and a sultry guitar jangle align to the darker hues of bass and the catchy tones of Wyatt. The prime hook cast by Bailey throughout the track steals the appetite with ease, its bait spiced by the rousing exploits around it as song takes ears and hips in hand.
Since your early days, how would you say your sound has evolved?
