Four years and a few months on from being wholly captivated by our introduction to The Cathode Ray through the release of their second album, Infinite Variety, the Scottish outfit has done it all over again with its successor, Heightened Senses. It offers a collection of songs which revel in the band’s evolving sound and imagination, a proposition more unique by the release and as proven by their new release, more compelling.
The history of the members of The Cathode Ray, a project emerging from an initial writing collaboration between songwriter/vocalist/guitarist/keyboardist Jeremy Thoms and former Josef K frontman Paul Haig, reveals a landscape of enterprise and influential bands. Numerous essences of those earlier exploits could be heard as a rich spicing across the last album which only added to its temptation but its successor has truly found its own unique presence and character, building on the majesty of the last album whilst exploring new individual adventure. Heightened Senses is a sublime set of indie pop songs, though that barely covers the wealth of flavouring they embrace, which so many bands new and existing could learn much from and be inspired by.
Released on ever exciting Scottish label, Stereogram Recordings, Heightened Senses sets out its tone and inescapable persuasion with Memories Of The Future. The first track swiftly gripped attention as an opening thoughtful sonic sigh welcomes the skilled swipe of steel strings amidst the melodic intrigue of guitars. As quickly the darker throb of Neil Baldwin’s bass joins the already magnetic affair, riffs and melodic enticement closely following to fully grip ears and appetite. Thoms’ tones soon stroll the song’s tempting wiring, infectiousness coating every note and syllable as a T-Rex meets Television hue spreads further goodness. The track is superb and if there is such a thing as the perfect pop rock song it has to be a contender.
The following Love and Death soon shows it is just as able to ignite body and imagination, its opening Orange Juice-esque jangle and Bluebells like swing across pungent dance-floor natured rhythms just the beginning of a contagiousness which advances through ears effortlessly as guitarists Phil Biggs and Steve Fraser match Thoms’ creative dexterity and join the synth prowess of guest Alex Thoms. With the beats of David Mack a perpetually welcome hounding of movement, the song simply had us bouncing before Another World seduced with its swaying croon of melodic temptation. With a chorus which almost mischievously had vocal chords in participation in between times of haunting radiance with its own instinctive catchiness, the song beguiled with ease.
A Difference Of Opinion brings funk scented boisterousness to its melodic shuffle next, a whiff of Talking Heads spicing its flirtatious body. There are so many aspects to The Cathode Ray’s sound which draws you in, here guitars and harmonies leading the way with their tender touches amidst contagious enterprise. As those before it, there is only a compulsion on body and instinct to join the fun while Days Away with a similar effect on hips seduces with a gentler but no less virulent slice of pop imagination. Both tracks had us keenly involved and greedy for more yet are still slightly eclipsed by the album’s Arctic Monkeys/ Scritti Politti tinted title track. The band’s new single teases as it tempts, arouses as it dances in ears with Thom’s vocals as ever across the release a coaxing very easy to line up with.
Though it is hard to pick a favourite track within Heightened Senses, the Pixies meets Weezer antics of Make Believe and the ska ‘n’ pop of Before The Rot Sets In each set a firm grip on such choice. The first featuring the backing vocals of Robin Thoms is cast within post punk shadows but is as bountiful in melodic light and dextrous contagion as anything heard this year whilst its successor with a Police like shimmer courts and enslaves pleasure and imagination from start to finish as guitars spread their new wave/ rock ‘n’ roll hooked webbing around a chorus, graced by the additional tones of Laura Oliver-Thoms , refusing to take no to its consuming catchiness.
The Past Is A Foreign Land completes the line-up of temptation with its heartfelt balladry nurtured on melancholy and hope. It is a song with sixties breeding to its breath and melodic seduction in its voice. A song maybe without the invasive agility of many of its companions but seduced to similar heights nonetheless.
To be honest there was a thought at the time that The Cathode Ray would struggle to match let alone outdo previous Infinite Variety ahead but a thought very quickly thrown aside by the exceptional Heightened Senses.
Heightened Senses is out now Stereogram Recordings; available at https://stereogramrecordings.bandcamp.com/album/heightened-senses
Upcoming Live Shows:
Friday 1st November 2019. The Voodoo Rooms, Edinburgh
Thursday 28th November 2019. Audio, Glasgow, supporting B Movie
Friday 28th February 2020. Mono, Glasgow, supporting The Monochrome Set
Saturday 29th February 2020. Beat Generator Live! Dundee, supporting The Monochrome Set
https://www.stereogramrecordings.co.uk/artists/cathode-ray/ https://www.facebook.com/thecathoderay/
Pete RingMaster 11/10/2019
Copyright RingMaster: MyFreeCopyright
The following Making Trouble brings a thick growl to its Vaselines-esque flirtation, eager energy and a dirt encrusted sheen adding to its instantly gripping character while Never Is Forever simply had ears hooked from its initial invitation of lone bass. The ever manipulative rhythms of Sturgis soon join the inescapable temptation; guitars and voices no slouches in adding to the refreshing enterprise fuelling one irresistible moment within Stay Cool.
It is a success soon shared across Fleam starting with the pair of Lovebombing and Dig. The first comes equipped with danger and threat as well as another dose of pure musical contagion that infests ears and instincts. Nurtured in punk ‘n’ roll ferocity and armed with a lyrical prowess which grips as effortlessly as the feral sounds surrounding it, the track simply enslaved before the second of the two sauntered in and exploded in a flame of melodic discord and eccentric invention. With a breath akin to The Nightingales in league with Television Personalities to it, the track burrowed under the skin laying bait and temptation which for just over two minutes feasted on any possible resistance to its esurient endeavour.
From its opening bait of bass, the first of the pair had the body swinging; its temptation instantly escalated by the vocal collaboration of Mears and band around Tollefson‘s lone and as potent lines. The guitars of Chris Munford and Corianton Hale again almost tease as they melodically entice but it is Mear’s melodic cries which made for the greatest seduction in a song and particularly chorus which made for increasingly mischievous aural manna. Its successor with its jovial jangle and frisky rhythms allowed for no relaxation of feet and body swerves, its flirtatious vocals and melodies a pleasing mix of comforting warmth and playful unpredictability.
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Next up is Walls away, a far calmer affair with a melodic temperament which captivated from its initial lure. It has a raw undercurrent though which accentuates its elegance breeding, that aforementioned unpredictability lurking at every corner while Slaínte (Salud, dinero, amor) has a Celtic lining to its infectious festivities; an Irish Gaelic inspiration which again had the body bouncing across its primarily instrumental canter sharing “good health”.
The excellent opener is quickly followed and matched by the bouncy saunter of Greek Fire, the resonating thud of rhythms alone a potent lure behind the boisterous and flirtatious exploits of voice and guitar. With each passing second each aspect accelerates its lustful gait and appeal, only relaxing to repeat the irresistible cycle with even greater enterprise and energy. Superb in every essence, the song sets a marker to be regularly worried across the release if maybe not quite by next up Trattegio. In saying that, the song only has attention and appetite keen with its calmer and eagerly infectious endeavours featuring guitarist Thayer McClanahan and drummer Matt LeMay alongside Smith.