Dearist – This House Has No Windows

Dearist 2015 new_RingMaster Review

Enticed by its name and enthused by the praise of others in regard to a previous release, there was real intrigue in place entering into This House Has No Windows, the debut album from UK band Dearist. This is a band beginning to stir up a healthy buzz around themselves and it is easy to hear why as song by song, the encounter captivated ears and imagination. Released through Close To Home Records, the Southend-on-Sea independent home of the likes of Faux, Sneeze, Tilde, Of Us Giants, Walleater, and Great Sale Day, the nine-track encounter is a fascinating proposal of unpredictable and diverse flavours that at its heights lights a fire in the passions and in its lesser successes sparks a hungry appetite for more.

The Wolverhampton hailing Dearist began as the studio side project for bassist/vocalist Adam Binder of Kyoto Drive, it soon taking over as his main focus and becoming a full live band with the addition of fellow Kyoto Drive band mate and drummer Mitch Davis alongside guitarist/vocalist Chris Tucker and guitarist Michael Ingram, with more recently guitarist Lee Jarratt bringing Dearist to a quintet. Last year saw the release of debut single Get What You Want, its attention grabbing success backed by album teasers Fix and Leecher. With a sound described as emo/alternative rock but much more involved and varied than that description can suggest, Dearist are now poised to poke at broader spotlights with This House Has No Windows, a success easy to assume.

dearist packshot_RingMaster Review   This House Has No Windows is on fire from its first second, opener Geneocide bounding in on stirring rhythms and an enjoyably piercing jangle of guitar. It is equally as sonically hazy as it is openly precise, the magnetic vocals of Binder and Tucker uniting in a warm but vociferous roar amidst similarly inflamed sound. Slips into mellower caresses only add to the seducing whilst accentuating the creative ferocity of the track’s rawer urgent energy. It is a glorious start carrying some recognisable if indefinable hues to its hooks and melodic prowls which just adds to the drama and persuasive power of the song.

The following Fix opens on a reflective kiss of piano before opening up its heart in another fiery but more restrained wind. It is a climate though which gets more intense as vocals raise their emotional energy and the guitars cast an evocatively alluring weave of invention and creative expression. With a unique character but matching impressive craft as its predecessor, the track reinforces the album’s strong start with Blemish adding its own potency straight after. Lying somewhere between My Bloody Valentine and The Jesus & Mary Chain, and with shadows draping its heart and melancholy fuelling its reflection, the song is a bewitching seducing leaving the imagination alive and easy pickings for the Billy Talent like resourcefulness and angst of Fake to make use of. Though a bit of a slow burn compared to the songs before it on ears, it soon emerges as another highlight as it increasingly enthralling and involving emotions with every passage of time shared.

Leecher steps up next to uncage its creative and emotional bellow, intricate melodies colluding with provocative textures, vocals, and the earthier touch of bass and swiping beats. Providing another chorus and indeed array of twists which swiftly lure participation from those within its tempest, the song has satisfaction brimming before making way for the brief and darkly ethereal Something Unreal. A hug of voices within a repetitious sonic haunting, the track is neither an intro nor feeling like something full, it more a glimpse into another parallel moment somewhere and throughout very intriguing if a little puzzling.

Both Reign and What You Want continue that level of tempting, each missing the same spark found in the bigger triumphs before them for personal tastes but with shadowy drama and magnetic layers within the first and the muscular skeleton of the latter courting an increasingly predacious rock ‘n’ roll air, each captures ears and thoughts with open prowess.

The album is brought to a close by Crawl and its fusion of melodic romance and vocal temptation with initially low key rhythms which become more imposing yet equally flirtatious in an excellent finale to This House Has No Windows, release and song ending on an inflamed crescendo of sound and emotion.

This House Has No Windows is an irresistible encounter becoming more forceful and impressive in its adventure during a listen and in subsequent plays. The fact there is still room where it might have made an even more enslaving impression makes Dearist one very exciting prospect and very likely the next musical passion for a great many.

This House Has No Windows is released October 23rd via Close To Home Records on Ltd Edition 12” vinyl @ and digitally through as a name your price download.

Pete RingMaster 23/10/2105

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Kids We Used To Be: And We Would Have Gotten Away With It Too… EP

The And We Would Have Gotten Away With It Too… EP is the debut release from Liverpool pop punk band Kids We Used To Be. Released through Like Records it offers four tracks dripping promise for a band still in evolution. With a hardcore vein bursting through their songs the band whilst not laying down deep scars of originality leaves one anticipating great things ahead once they find their true selves in their sound.

Taking their name from one of their influences Alexisonfire and their song Old Crows, Kids We Used to Be is barely a year old, being formed in the Summer of last year. Consisting of vocalists Ste McEvatt and Carl Gunning, backed by the musical prowess of guitarists James Cremor and Lewis Gardner, bassist Mike Higgins, and Lee Berrill on drums, the sextet use additional flavours from the likes of The Wonder Years, Set Your Goals, Alexisonfire, and Man Overboard, to forge their own not yet distinct but flavoursome sound, the band feeling like one still in transition. They have in their relatively short time already lit up stages alongside bands such as Polar Bear Club, Paige, Kyoto Drive, The Story so Far, Man Overboard, and Decade and set themselves as a band to certainly keep an eye on, something the EP does nothing to suggest otherwise.

30 Down opens up the release with a firm hand of striking melodic strikes and cruising riffs. Gruff brawling shouts going as vocals enter the affray and are fair if unspectacular in what seems to be a growing need for bands to employ this aspect against clean vocals which here are very agreeable and add a balance to their coarse counterpart and the track itself. The song itself is a bruising encounter without unleashing a barrage of aggression which works well with the melodic enterprise from the guitars.

The following Hey Aqualung litters the ear with feisty riffs and firm rhythms in a regular pop punk approach. Again the dual vocals dominate the song predominately though it is no reflection on the strong songwriting and sounds which without being the most imaginative easily satisfy and keep the attention fully engaged. The building crescendos throughout work well and add extra intrigue to what is a good song with an anthemic edge.

By this point the rough vocals feel in need of variety to be honest, the idea of using the twin attack in pop punk is a different aspect but someone simply screaming in the ear is at times too distracting. Against music which at the end of the day is not the most intensified and violent personal taste leaves one to hope there is a reassessment in that department, not a removal but a better definition and diversity.

The best song by far on the EP is Nothing Good Happens After 2AM, a song which alone shows why the suspicion that Kids We Used To Be has a definite strong future ahead is so strong by the end of the release. Easily infectious the song is the most inventive and imaginative track. With the punk urgency which is to an extent lacking elsewhere and a predatory air to its muscular riffs and thumping beats, it shows a band in complete unison and at the top of their current skills. Whether the song is new compared to the others or recorded at a different time we cannot say but in every aspect it is better, in creation, individual delivery, and production. This is the lead song and should be a single to really set the band off on a decisive rise.

Completed by a demo version of Man, I Hate Your Friends which again offers strong assumption the band will make a bigger mark ahead, the And We Would Have Gotten Away With It Too… EP is a more than decent introduction with one song by itself declaring Kids We Used To Be a band who will grab our attention often as they develop. Right now the EP is well worth some of your time, Nothing Good Happens After 2AM worth a persistent entertaining.

RingMaster 30/06/2012

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