2015 will be marked by many things for different people in regard to music, and most likely amongst them will be not only the introduction to UK indie rockers Sugarmen through debut single Dirt in April but equally its successor, the rousing infection that is Plastic Ocean. The band’s new song is a tenacious dance of jangly guitars and eighties spiced melodies with captivating energy and joyful enterprise to match, it all making up confirmation of the promise and qualities shown in its predecessor.
The year has been a potent adventure for the Liverpool quartet. Between the singles, the foursome of songwriters/guitarists Luke Fenlon and Chay Heney, bassist Tom Sheilds, and drummer Sam McVann have played two Hyde Park shows with The Who and Blur, whilst amongst their own shows they have shared stages with the likes of Sleaford Mods, The Bohicas, Hooton Tennis Club, Deer Hunter, Metronomy, and British Sea Power. The release of the Mick Jones (The Clash) produced Dirt was a attention grabbing spark in the year too and now matched by the voracious adventure of Plastic Ocean.
The single instantly hugs ears with a spicy melody from within the jaws of a groaning bass and crisp rhythmic jabs. As quickly that eighties flavouring springs its welcoming lure, the song like a mix of King Trigger and through its spicy guitar flirtation, Haircut One Hundred. The voice of Fenlon is just as warmly inspiring as the sounds, feet and hips fully involved by rhythms and the catchy swing of the song as the listener’s vocal chords and a greedy appetite are recruited by the vocal and melodic prowess seducing ears.
Within it’s less than three minutes of length, further magnetic infusions of fresh flavouring emerge to line the excellent dips and leaps in energy, it all adding to the undiluted festivity of the song. Quite simply, the track is an adventurous pop rock party which has the listener in the palms of its boisterous hands.
If you missed Sugarmen the first time, be sure not to miss this second slice of their sound, indeed add it to your playlist for this festive period and spread the goodness.
Courtesy of a co-release between Aggrobeat and Rebel Sound Music, punk from both sides of the pond links up in a 7” split which just ignites the appetite. On one side stands Welsh oi/punks Foreign Legion and on the other Tulsa Street punks The Shame, both offering two tracks of highly satisfying incitements. There have been a few potent punk splits over recent times and this stands right up there as one of the best.
Emerging from the ashes of Dead On Arrival, Foreign Legion began in 1984 infusing an oi seeding with varied essences of punk rock. The years have come and gone, line-up changed but the band has never slowed down or taken the heat out of their creative and lyrical rage as shown by the new release. Recent years has seen Foreign Legion share stages with the likes of Cockney Rejects, Guitar Gangsters, Control, The Warriors, GBH, The Ruts, and Stiff Little Fingers and play festivals such as Back On The Streets, Punk & Disorderly and Rebellion, whilst over time they have played in 15 different countries and remained the only Welsh band to ever play at the legendary CBGB’s in New York. With four albums under their belt, including the Mick Jones produced What Goes Around Comes Around, as well as a split full-length with Major Accident and numerous other splits and compilation appearances, the band instantly show they are as stirringly confrontational as ever with their first contribution to this new encounter.
Nowhere Left To Hide strides in straight away with commanding rhythms and attention seizing riffs, their mix a potent lure which the grizzly tones of Marcus stand astride. An air of Angelic Upstarts lines the attitude and presence of the track whilst backing vocals are as anthemic as the core hook repetitiously fuelling the infectious challenge. With guitarist Simon and bassist Dave colluding to grip ears and appetite with their creative bait as the rhythmic swings of Sid thumps them, the track stirs up air and emotions with its old school tones and a modern attitude driven on by the lyrical attack on the state of the world, a premise continued in its successor.
Our World Today is even more addictive with its central hook incessant in nagging repetition and inescapable virulence. Around this the guitar flames with sonic enterprise whilst the throaty bass belligerence snarls with antipathy to match the thick accusation of the lyrics, again anthemically and intimidatingly delivered by Marcus. As its predecessor, the track is not trying to stretch boundaries and venture into unique landscapes but for a thrilling and provocative slab of honest punk rock it is prime incitement.
The other side of the release belongs to Tulsa’s The Shame, another band breeding their attacks from old school punk this time with maybe more US heritage though there are undoubtedly some essences of British punk found within their sound. Their potent history has seen the band play with bands such as Queers, Downtown Struts, Noi!se, Bishops Green, The Templars, Fatskins, Concrete, and Those Unknown whilst their discography includes an album and a 7”. With a new EP scheduled for later this year, the band launch their part with Crossing the Line first of all and quickly gets down to being musically and vocally grouchy and thrilling ears straight away.
Riffs and rhythms rise as one and are soon taking the listener on a feisty attitude driven ride. A thick bass lure easily grips the appetite as does the group calls around the chorus, but from start to finish with a whisper of bands like NOFX to it as well as a UK influence of bands like The Business, the song is a rousing stomp led by pungent hooks and beats around the stirring influence of the lead vocals.
Its successor is just as contagiously imposing and bullish, Faded Glory emerging as a thick anthem of nostalgia and rebel rousing inspired by beer and sonic rioting. A little more reserved in energy compared to their first, song and band still raise the passions and spark the defiance in us all with accomplished and galvanic posture.
The four tracks on the release all hit the spot with ease in a reminder that punk on both sides of the big water is still roaring as strongly as ever. ‘
With a sound which has a healthy eighties feel to it as well as a modern tenacity and enterprise, UK indie band Sugarmen unveil a rather enjoyable and infectious introduction to themselves via debut single Dirt. It is a rousing and feisty slice of pop rock but equally has a calming melodic tempting to create a nicely rounded and memorable first meeting between ears and the Liverpool quartet.
Sugarmen was formed by songwriters/guitarist Luke Fenlon and Chay Heney, soon concluding their openly creative line-up with bassist Tom Sheilds and drummer Sam McVann. Their inspirations are reflected in their record collections according to their bio and includes flavouring from the likes of Hooton Tennis Club to Peace, Parquet Courts to Alvvays, The Velvet Underground to Wild Beasts, and The Clash to Orange Juice, and it is this latter band which sprung to mind listening to Dirt, they and others like Josef K, The Farmers Boys, and The Bluebells. They were all bands capable of writing and creating the most contagious and blemish free pop songs and though it is only one song, Sugarmen suggest they have that quality too.
Since forming, the band has played with the likes of Sleaford Mods and Paul Weller whilst this coming June will see them supporting both Blur and The Who in Hyde Park as well as playing the Dot To Dot Festival in May. The Sugarmen sound has also caught the ears and attention of Mick Jones (The Clash / BAD) who after hearing the band’s demo tracks, produced ten songs including the single with them; it all occurring in Paul Weller’s studio which he donated for the recordings. It is fair to say that the band is standing at the point of real attention and potent spotlights, a door Dirt makes the ideal key for.
The song opens on a strum and the vocal prowess of Fenlon, a gentle but potent coaxing which teases for a short while before a stab of sonic tenacity sparks the band into a lively and magnetic stroll. The bass of Sheilds is instant flavoursome bait with its throaty lure matching the striking appeal of the guitars in its own individual way. Hooks and chords, sonic colours and rhythmic jabs all converge on ears with captivating enterprise and contagious endeavour, ridden by the harmonic roar of Fenlon’s vocals and the backing of the band. A sniff of Arctic Monkeys makes a hint to join essences of those mentioned previously but the truth is that Dirt has a voice and character which is primarily Sugarmen and, as their live presence, increasingly persuasive.
Expect to hear more of and from the band ahead, and we suspect in increasingly potent doses.
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As shown by their new album Light At The End Of The Tunnel, Welsh punks Foreign Legion has never strayed too far away from their roots but continue to invigorate and push their core sound with a passion and energy which never becomes tiresome. The band’s latest riot bridges their old school punk/oi background with a modern punk ‘n’ roll confrontation resulting in twelve songs which make swift anthemic stabs with contagious endeavour aligned to antagonistic intent.
Formed in 1984, Foreign Legion has built an attention grabbing presence which has endured and widened over the years. A trio of full-length releases continued to set the band apart from the pack, especially the acclaimed Mick Jones produced What Goes Around Comes Around of 2002, whilst split releases with Major Accident in 2000 and Sledgeback in 2010 amidst their own EPs and compilation gracing songs, have proved the band a potent encounter within the modern era of punk rock. On stage again the quartet has forged a formidable reputation, the band playing across over 15 countries and sharing stages with bands such as Cockney Rejects, Guitar Gangsters, Control, The Warriors, GBH, The Ruts, Stiff Little Fingers and many more. They are also the only Welsh band to play the legendary CBGB’s in New York which makes an additional potent mark on their career’s CV alongside their numerous festival appearances including the likes of Back On The Streets, Punk & Disorderly and the Rebellion Festival, where the band is set to ignite the crowd again in 2014. Released via Aggro Beat in Europe as a Green With Red Splatter vinyl and Rebel Sound in the US as an equivalent in Mint Green with both issues limited to 250, Light At The End Of The Tunnel provides another feisty and tasty morsel from Foreign Legion to enthuse over.
Light At The End Of The Tunnel makes a strong and appealing start with opener Jenny and its successor What A Place To Be, if neither really inspires a greedy appetite in the emotions. Both tracks still grab attention easily to set things off promisingly, the opening song entangling ears with welcoming guitar strands of melody from Simon Bendon punctured by the firm beats of drummer Glyn Bendon. Soon into its stride with the track’s narrative unveiled by founding band member and vocalist Marcus Howells, the restrained and easy to access stroll makes a simple and catchy romp before the second song on the album similarly has feet and voice in tandem with its infectious if undemanding beckoning, the bass of Steve Zuki the most irresistible lure.
The album catches fire from here on in with firstly the excellent Regenerations (Council list. Riffs and rhythms bring an instant entrapment of the imagination before soon being reinforced by the swiping vocals as the song looks g at local governments and the decline of British towns and all that inspires. The track is a contagious two minutes plus of uncomplicated but thoroughly inciting social commentary in the renowned Foreign Legion style, though again maybe there is a spark missing in comparison to the following tracks. There is an undeniable greater potency to the song which the band and album expands further through songs like My Radio. A great bass intro from Zuki sets the track off in compelling style, its swagger and groove matched by the hooks of the guitars and the effect rubbed vocals. Infection again wraps the song, its virulence at new heights for the release with riffs and rhythms an additional thrilling toxic bait.
Both Hey Girl and George Best continue and elevate the new plateau of the album, the first a Peter and the Test Tube Babies meets The Clash like provocation which takes mere seconds to seduce senses and passions whilst the similarly bred second creates a terraces like anthemic quality for an Serious Drinking mixed with Angelic Upstarts eyeballing, both songs enlisting full physical and emotional participation to its recruitment drive. As probably recognised, Light At The End Of The Tunnel just gets stronger and more impressive the further into its body you delve, the likes of Stalker with its deviously addictive bass hook, another striking offering from Zuki who adds something extra to the album arguably lacking on earlier releases, and the excellent Market Trader adding to the weight and bait of the release. The second of the pair again deals with the decline of towns, this through the intervention of supermarket chains and the likes, whilst raging and infecting with resourceful invention. #
The uncompromising Three Years, and its unbridled assault on child abuse and feeble punishments, scars and provokes with greater venom and passion within the album before Miners and Drunken Heroes uncages a raw, caustic sonic grazing and belligerent defiance respectively. All three songs stalk and coax with spite and energy before the closing song covers them with its shadow. Phoenix from the Flame is a pure punk rock anthem, a band banner which alone places Foreign Legion band amongst the highest echelons of British punk, its body holding all the cards and bait to ignite crowds and recruit new hearts.
Closing on its finest moment Light At The End Of The Tunnel is an outstanding punk quarrel and maybe the best thing Foreign Legion has set loose to date, certainly the rival to past glories. Punk right now feels like it is moving to a new heyday and records like this only reinforce that notion.
Since the release of their debut single The Magic Eye in 2011, UK rock band The Savage Nomads has continued to impress and ignite the imagination with their ever evolving invention and sound. Through an acclaimed album, an equally showered with praise EP, and their stunning new single Jaded Edges, the London quintet has drawn and bred major attention, including that of Mick Jones of Big Audio Dynamite and The Clash. The time feels ripe and ready for the band to finally explode onto the frontline of the UK rock scene, something their single suggests is imminent as more boundary pushing, for band and genre, songs and releases are beginning to stir. Eager to find out about the inner sanctum of the band we grabbed the opportunity to talk with vocalist/guitarist Cole Salewicz, touching on the history of The Savage Nomads, BAD, songwriting and much more….
Hi Cole and thanks for talking with us at The RingMaster Review
A pleasure…
To start off with some background how did the members of The Savage Nomads get together and what brought the band into existence?
Josh and I were two like-minded souls that were lucky enough to meet each other via a once brilliant London group called ‘Sailor No Youth’. Del Guapo, a fantastic guitarist and songwriter who lives down in Hastings introduced me when I was 15 and Josh about 13 or so. I was playing bass with him in Sailor No Youth for a little bit and he thought Josh and I might be able to link some serious tunes together. Lucky, really…
Did you have a determined intent for the band when starting out and if so has that changed over the years, or has it always simply been an organic journey of discovery from day one?
At first you know we were like any other young band; trying to make whatever we could work and thinking we were God’s gift to music. I suppose that’s a good thing when you’re really young because we went out and played absolutely anywhere to anyone and I think Josh and I were really happy to do that: making our bones playing to barflys watching Champions league football. That was a crucial time, and also a pretty difficult one for some old nomads: a few stragglers got left by the roadside! We were rewarded with a year long residency at the 12 Bar Club eventually…We’re more determined than ever now, though…
Your sound is a multi-flavoured, multi-textured beast, one which is constantly evolving, what are the biggest inspirations to your adventure would you say?
Wow, I couldn’t tell you. Thank you! Anyone who is trying to push their limits I guess, anyone trying to be the best at what they’re doing. Arcade Fire’s new LP is emblematic of that ethos: they play to their strengths but are always looking to cover new ground. The Clash was a big influence on Josh and I growing up, as was Neil Young…I love Prince, I love Bowie…you know, all those guys…we like The Cribs’ attitude…
Each release from debut single The Magic Eye through an album and EP on to your recently released track Jaded Edges have
Copyright – Grace Lightman
all had truly individual character and imagination from themselves and other bands around. How much has the changing sound been natural evolution and how much a determined guidance from yourselves?
Thanks, I think pretty much up until recently it was all completely natural. Maybe completely out of control! The new material is a different slice of pie…I can’t wait to release more of it…I want a bus driver in Wigan to be able to connect with the songs. We are retaining who we are, because we’re not getting away from what makes us write songs or why we write the songs but I think as we’ve gotten a little bit older we understand a bit more about crafting songs if you catch my drift; because in the past we were just vomiting out our insides, getting all the ideas out in a big pot, the songs came out in a stream of consciousness (a bit like this interview)…we’re a little more composed now. We practice deep breathing!
Earlier songs and releases were seemingly bred from a post-punk seed whilst recent tracks and the new single Jaded Edges, well they have unveiled a weave of diverse aural invention and styles honed into something contagiously ingenious in our book. How would you describe your sound to newcomers?
Golden Pop: The Real McCoy.
How has your music evolved since the early days to the new release for you?
Well we can play a little more and understand more about production and about different methods of writing songs. Different sexual positions! I don’t bother looking at the past too much, I’m very proud of Coloured Clutter but I haven’t listened to it in ages: I’m only interested in The Savage Nomads at this very second and in 2014.
I believe the line-up has changed over the past years, has this been a factor to the changing direction and ever hungry invention of the band?
Probably. Everything that is meant to happen does happen. I love those guys who were in the band before, they were great musicians but we’re in a more harmonious place now.
The Savage Nomads has been a band which has us bemused in the fact you have not exploded into the full attention and psyche of the country before now. We know it is not the music, so can you give us some ideas of the obstacles facing a band which keeps them under cover, prevents them finding the amount of ears needed to be noticed?
HA! Well, I thought it was going well…slowly, slowly catch a monkey, Pete…Guys like you are making it easier. It is hard, I mean, sometimes I feel like there are a million groups in London, let alone the rest of the country. I have often thought given the effort we put in and the organisation that we uphold; we really should of started selling laughing gas…
Have you found a laziness or apathy in some quarters from the industry and the public when it comes to trying to grab their attention in what is a thick wave of emerging bands at any point in time?
Hahahahahahahahhahahaha NOOOOOOO, not AT ALL…what on earth would give you that impression?!?!?!??
Copyright – Grace Lightman
You have certainly gained strong attention and support from the likes of Matt Johnson, Robyn Hitchcock, and especially Mick Jones. Has this given your presence any extra spice within the music world?
All of that has helped and we’ve been really lucky but it doesn’t mean anything more than a nice endorsement. Mick isn’t going to come round and write the songs for me. What it has meant though Pete, is that lovely people like yourself have taken an interest when maybe they wouldn’t of otherwise. Another piece of the puzzle…
Tell us about your connection with Mick and BAD in particular. How did he become aware of you, which led to the band playing the Big Audio Dynamite Justice Tonight Tour, and how much did you learn from that event?
That was stupendous. A great experience playing on bigger stages and completely euphoric! That Scala show on the Justice Tonight tour was one of the best nights of my life. Mick discovered us when we were 16: West London buzz I guess…a big sewing circle that place. We played his Carbon Casino club nights at the legendary Inn on the Green in Ladbroke Grove. It led to a lot of great things, we met a tonne of people that would help us out later on…met our first guitarist, a really cool kid called Francis Botu…
Tell us about the songwriting process within the band and how songs expand from their early seeds generally.
Nowadays it’s different all the time but over the last year Josh and I have gotten really into using Logic. We immersed ourselves in it and came out with over 20 new tunes. I’m writing some new songs on an acoustic guitar and the new boys in the group are really terrific, really enthusiastic so we’ve started writing collectively as a group a bit more too. Getting competent on Logic was a major breakthrough for us though…
Are you a band which continues to evolve songs right up to the final recording or do you enter the studio/record with a relatively fixed sound and intent for a track in place?
Absolutely, songs have lives of their own so you’ve gotta let them do their own thing! We recorded the latest material at Café Studios in Bow with Cherif Hashizume who we got on like a house on fire with. He was actually in a band called Melody Nelson that we used to support when we were mid-teens, lying about our age to play at the Rhythm Factory…funny who comes back into the fold!
Returning to Jaded Edges, your songs have always had a swagger, a confidence to their bodies which instantly engages, but the new song has a mischief and deep belief as well as passion which suggest that The Savage Nomads has found a maturity and even greater appetite for experiment and inner exploration. Is that how you see it?
Yeah sure! Thank you for saying so! I have definitely become an avid fan of the love song: I don’t think there’s anything I have more fun writing about. I still write about what else is going on in my life and what I see around me but love songs are the best type of songs, aren’t they?
Can we take Jaded Edges as a potent indicator of the direction and avenues the songs you are writing and those to come will investigate or as we spoke of before it is more of a let’s see what they say to us situation as they emerge for the band?
Jaded Edges is a good indication, yes…but we’re always gonna throw some surprises at you…I’m very excited about the new material, the new set is mainly comprised of it so you gotta come check us live…
What is next for and from The Savage Nomads?
Acrobat training…we wanna take our live shows even further…
Once again thank you for spending time with us. Any last thoughts or revelations you would like to share?
Grilled Honey-Glazed Mackerel, Cherry Tomatoes and Boiled Brown Rice. Add sour cream and scotch bonnet pepper sauce to taste…
Ever since coming across their debut single The Magic Eye, UK rock band The Savage Nomads has continued to impress and ignite the imagination with each and every release. At the same time they have evolved their presence and sound into one of the most impressive and exciting, yet weirdly still widely unrecognised, forces around today. From their starting point their debut album the inventive and thrilling Coloured Clutter, and the stylishly imaginative Tension In The Middle EP of last year, only continued to establish and elevate the London quintet in the passions of a great many whilst picking up strong acclaim along the way and drawing the eager attention of the likes of Mick Jones, Paul Simonon, Matt Johnson (The The), and Robyn Hitchcock. Supporting The Jim Jones Revue as well as Big Audio Dynamite on their Justice Tonight tour, at the request of Mick Jones, has done them no harm either but the band still remains in the shadows for a great many, well until they release new single Jaded Edges we suggest.
The song is exceptional and sees the band leaping up not just another level but many with the development and honing of their already distinct sound into an even more potent and mesmeric persuasion. Consisting of vocalist/guitarist Cole Salewicz, guitarist Josh Miles (who has moved from bass within the band), bassist Rory Jones, guitarist/keyboardist Benjy Miles, and drummer Petr Matousek, The Savage Nomads has stretched their imagination and invention to compelling lengths to sculpt their finest moment by far. If the single does not trigger a wave of mass hunger for the band then maybe the nation truly has gone too far into the Cowell dark side.
Whereas previous releases were more post punk clad, Jaded Edges brings a stronger new wave essence into what is basically straight rock ‘n’ roll with a taste of garage rock. Imagine Eighties Matchbox B-Line Disaster and Baddiesin a creative riot with The The and Lloyd Cole and The Commotions whilst Department S and Nick Haig add their thoughts and you get a strong flavour of what the single offers. From its opening bass groan and reserved yet swirling keys, the song instantly infects the ear and beyond. The vocals of Salewicz stand out straight away also as they rest easily on the senses, his almost Tom Verlaine like persuasion a smoother and richer textured temptation showing another evolution from the more Mark E. Smith offerings in the early days of the band. The song itself has a swagger which is deliciously confident and teasing whilst the melodic dance and coaxing of the song is gleefully mischievous within the addictive rhythmic cage.
Despite all of their previous glories, Jaded Edges is easily the most enthralling and masterful piece of songwriting and invention to come from the band’s imaginative creativity, and as it is just one of apparently 25 songs penned by the band in a 9 month immersion in their south London studio, anticipation for what is to follow which includes a series of videos and further singles, is already hungrier than a shark on land. If Jaded Edges does not start the rise of the band to greater plateau of awareness and recognition there really is no such thing as justice.
An exhilarating blend of sounds from the past five decades or so, East & West the riotous new single from Nat Jenkins is a scintillating brew of invigorating rock n roll. Sounding like a mix of rockabilly, punk, garage and folk rock, the track taken from his upcoming new EP riles, thrills, and excites the senses in the way only pure hearted rock n roll can.
Through previous singles and EP, Jenkins has garnered a potent following and wash of acclaim, coming to the strong notice of the likes of producer Chris Kimsey (Rolling Stones, Peter Frampton) and The Clash’s Mick Jones with whom Nat has collaborated on the track and one assumes upcoming EP. The Camouflage Recordings released single is the first of three recorded in his tiny studio flat in Paris, the song a compelling representation and result of his investigation of sounds going back to the early sixties. As the song leaps upon and enlists the passions in its dirty scuzz lined brawl of rock n roll, the description of its flavoursome presence can only be described as the result of a mutant union between the attitude soaks seeds of The Doors, The Clash, Jesus & Mary Chain, Eighties Matchbox B-Line Disaster, and Thee Exciters with essences of Birdland and Gene Vincent to the mix too. It is a sound which covers the ages yet is entrenched and bred from the caustic times around us now.
The song towers over the ear from the start with a throaty riff grazing and clawing at the ear before crisp beats and warm keys add their abrasive and inviting touches. The vocals of Jenkins wear a coat of scuzzy effect to sizzle upon the senses along with the blistering kiss of the surrounding sounds, the full union of all aspects a flame which dances before and ignites the emotions into a hungry and energised compliance. With a bassline littered with irresistible hooks, the guitars sculpting further contagious lures, and an incendiary chorus to recruit voice and heart, East & West is a delicious invitation to the new EP and instigator of immense pleasure in its own singular rampage.
The single easily shows why Jenkins has brought such impressed recognition upon his individual brand of rock n roll, and if like us is this is your introduction to his rowdy sounds then you could wish for a better welcome than East & West.
After the acclaim that soaked their debut album Coloured Clutter, UK rock band The Savage Nomads return with the Tension In The Middle EP to justify previous opinions and inspire even more fervour and attention. Before the release the London quintet had set themselves up as one of the most exciting and promising emerging UK bands, the new EP takes that promise and turns it into a full reality. The sounds are unique, staggeringly imaginative, and wholly exhilarating, The Savage Nomads a band to fire up the heart.
With the likes of Mick Jones, Paul Simonon, Matt Johnson (The The), and Robyn Hitchcock adding their support and praise to the ever growing wealth of fans and media attention, the band has not looked back since their debut single The Magic Eye of last year. Consisting of vocalist and guitarist Cole Salewicz, guitarist Joe Gillick, bassist Josh Miles, drummer Billy Boone, and Aviram Barath on trumpet and synths, with all adding backing vocals, The Savage Nomads made a big impression when supporting Big Audio Dynamite, the band added to their Justice Tonight tour by the request of Jones.
Tension In The Middle brings the punk infused originality which ignited their album but with a more restrained and mellower intent, well if a subtler and more smoothly intrusive manipulation can be called mellow. The energy within the EP may not be as boisterous and excitable as on Coloured Clutter but it is just as eager and deeply infectious, the band bringing an evolution which is thoughtful and openly adventurous whilst retaining the core and irrepressible heart of their sound.
The title track opens up the release with a shadowed atmospheric grace and emotive wash. The spoken vocals of Salewicz reflect and unveil their thoughts over the fine piano pulses of Barath. The song littered with the excellent beats of Boone floats with a riled smoothness over the ear, bringing group harmonies and incisive guitar charms alongside the throatier basslines of Miles. The song equally caresses and scrapes the ear like a mix of The Three Johns and Babyshambles with Salewicz adding a Mark E Smith lilt to his vocals.
The excellent Four Personalities steps up next to bring a variation and slightly livelier breath to that of the opener. Tall velvety bass notes at the start announce the arrival of the guitars, their slicing of the air accompanied by blistered trumpet melodies and artillery driven rhythms. After a riled crescendo it drops into a hypnotic vein of bass riffs and sonic guitar manipulations. The track offers to explode at various times but never quite does take that final step and the result is compulsive. With the distinctness of Jazz Butcher and the manic energy of The Higsons the track is a growing infection which leaves one breathless. It is not an instant engagement but give a deserved attention it emerges as a magnificent piece of songwriting and inventiveness.
An Empty Seat from Coloured Clutter is included on the album and again is pure magic. Full of feisty energy and eager attention seeking guitars it riles emotions and thoughts up into a bedlam of excitement and rattled nerve ends. The song is part Baddies, and part Wire with Andy Partridge seemingly at the helm, a track bringing a post punk intensity with modern unbridled creativity. It was a true highlight of the album and is so again though its companions more than match it in adventure and imagination.
Completed by the radio edit of Tension In The Middle and a clean radio version of An Empty Seat, the EP is as impressive as one hoped and truthfully expected from the band. It offers up an even greater promise with its stylish change in presence and a reassurance that UK post punk and ingenuity are in safe and instinctive hands with The Savage Nomads.
Emerging from the ashes of Dead On Arrival, Foreign Legion began in 1984 infusing an oi seeding with varied essences of punk rock. The years have come and gone, line-up changed but the band has never slowed down or taken the heat out of their creative and lyrical rage as shown by the new release. Recent years has seen Foreign Legion share stages with the likes of Cockney Rejects, Guitar Gangsters, Control, The Warriors, GBH, The Ruts, and Stiff Little Fingers and play festivals such as Back On The Streets, Punk & Disorderly and Rebellion, whilst over time they have played in 15 different countries and remained the only Welsh band to ever play at the legendary CBGB’s in New York. With four albums under their belt, including the Mick Jones produced What Goes Around Comes Around, as well as a split full-length with Major Accident and numerous other splits and compilation appearances, the band instantly show they are as stirringly confrontational as ever with their first contribution to this new encounter.
some essences of British punk found within their sound. Their potent history has seen the band play with bands such as Queers, Downtown Struts, Noi!se, Bishops Green, The Templars, Fatskins, Concrete, and Those Unknown whilst their discography includes an album and a 7”. With a new EP scheduled for later this year, the band launch their part with Crossing the Line first of all and quickly gets down to being musically and vocally grouchy and thrilling ears straight away.
Since forming, the band has played with the likes of Sleaford Mods and Paul Weller whilst this coming June will see them supporting both Blur and The Who in Hyde Park as well as playing the Dot To Dot Festival in May. The Sugarmen sound has also caught the ears and attention of Mick Jones (The Clash / BAD) who after hearing the band’s demo tracks, produced ten songs including the single with them; it all occurring in Paul Weller’s studio which he donated for the recordings. It is fair to say that the band is standing at the point of real attention and potent spotlights, a door Dirt makes the ideal key for.
investigate or as we spoke of before it is more of a let’s see what they say to us situation as they emerge for the band?
