Confirming their impressive introduction though their well-received debut single Article Way and the following Spitting Image release, UK indie rock band Haarts unveil new song Seasons Change, another entrancing encounter reinforcing and extending the emerging potency of the band. Like its predecessors, the band’ third single seduces rather than seizes the imagination, making an intrigue coated persuasion which almost licks and smooches the listener into submission as it builds a fiery brew of emotive intensity.
The Cumbria hailing Haarts since forming, the members meeting at secondary school, has continued to build a potently ascending presence and reputation, earning their merits through an array of live shows and performances locally, including recently supporting The Boomtown Rats. This strong tempting of fans and passions has equally worked on the media through their releases, regular radio attention locally and nationally matching responses of the underground media.
Produced by Gavin Monaghan, Seasons Change almost ambles into view, a simmering ambience wrapping the ears as a guitar begins the evocative narrative of the song. The distinctive tones of vocalist Philip Hampson as on previous songs, provides a riveting presence and texture within the stirring craft and depth of the sound. A rhythmic recruitment of the emotions also begins its seductive work coaxing and punctuating the expressively brewing and widening melodic atmosphere. There is a dramatic heart to the song which leans agreeably on every aspect of the track and though it never exactly explodes into life, Seasons Change envelops and involves everything from ears to thoughts, senses to emotions in its brooding breath and intensive passion.
The single does not quite match the heights of the previous two releases but with the individual craft of the band members uniting for an enthralling design showing the further depth and width to the songwriting and sound of Haarts, the song reaffirms all the startling promise already unveiled by the band. Seasons Change is simply further proof of a band undoubtedly going places.
http://www.haartsofficial.com/
8/10
RingMaster 03/03/2014
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bassline and melodically sculpted riff strokes. It is a clean and precise persuasion of sixties blues kissed rock ‘n’ roll with a seventies garage rock breath and nineties indie endeavour. The song never explodes into the fire it hints at, especially around the chorus, but it is as infectious and compelling as you could wish for and undeniably makes a pleasing impact. The vocals of Rowan like the song are expressive with a strong buoyant tone whilst the prime hook of the song is irresistibly potent and with the other enticing elements of the song it all adds up to make the track an increasingly enticing offering over time.
and dreamy if shadowed relationships. As shown by opener Redhead, a track which from a seemingly singular subject embraces all never to be seemingly submissive prejudices, the music written and presented on the album coats and reflects the words with a rich and deep understanding to the lyrical missive. The first song makes a slow and reserved entrance before a piano coaxing welcomes in the fine expressive tones of Sojo, both soon wrapped in the arms of delicious emotive strings, an evocation which constantly seduces and succeeds across the whole of the album. There is a quiet but firm drama to the song too, a seemingly personal angst expelled through heated enterprise which only increases the immediate and lingering lure of the track.
With keen melodies and crisp rhythms around the mellow tones of Loughran, the song certainly provides a pleasing encounter but something feels missing, a spark to ignite the imagination. There is a Dire Straits lilt to the melodic design cast by the guitars whilst vocal harmonies embrace their lure with an appealing tempting of their own but there is a low key energy or maybe unoriginality to the track which prevents it taking as much attention as its design deserves.
that is impossible to move away from, but it is when the songs, their melodies, and those impossibly addictive hooks return on their own with a beckoning potency far away from the record that you know there is something extra i and long term about the release. Opening track Imprisoned is a prime example, a song which in its company is a sizeable temptation but one laying seeds within which blossom and seduce all over again whenever they want at any unpredictable moment away from the record and music. The song emerges from a small and enticing sonic web with a great bassline coaxing which is almost gnawing the senses. As with all the instruments, the delicious bait is provided by Lewis’ collaborator Ben Haynes who also produced the EP, as well as previous albums. The trap is soon snapped shut as an immediate appetite for the thick heavy tones and punchy rhythms is further lured by flames of guitars and the distinct tones of Lewis. His voice does not jump out but there is a quality which defines it and works well with the melodic harmonies which join him throughout. A definite early U2 feel to the track breaks out to add a further vein of strong suasion but it is the hypnotic rhythmic enticement which grips the deepest whilst making a virulent canvas for the melodies and infectious charms of the song to work their rich attraction.
worldwide release via Heist or Hit Records, not only to itself but in preparation for the band’s debut album currently in the preparation. Currently working with Local Natives producer Raymond Richards all signs point to the year being an extensive awakening towards the band’s enveloping sounds, the single the initial provocative melodic climate to drift over the passions. A release which like the summer sun seduces and heats the senses more the longer you remain in its gaze, Wander emerges as a lingering suasion which will be taken close attention of.
