It is fair to say that since returning from an extended hiatus, UK punks Yorkshire Rats have blossomed into one persistently rousing and creatively tenacious proposition. It is not as if their early years were barren from success and plaudits let alone ear exciting sounds but as their new self-titled EP shows, maturity and a new creative drive has seen them become one of the essential melodic punk encounters on the British if not global scene.
Formed in Pontefract by vocalist/guitarist Don Mercy (ex-Abrasive Wheels, ex-Billy No Mates) in 2004, Yorkshire Rats released a well received 7” and EP in their two years capped by supporting Rancid in 2006. Then the band took that hiatus before returning around a decade after first stepping forward and subsequently released their swiftly acclaimed debut album, Sea of Souls in 2015 via Indelirium Records. It was a release embracing the band’s earlier sound whilst welcoming a broader punk canvas and that new energy, all subsequently pushed again by the Trouble City EP last year and now their new four track offering.
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.
The following Where Do I Sign? brings a more US styled stroll to ears; its lively body and melodic enterprise akin to Green Day though soon developing its own unique character as the firm beats of drummer Chris Furness and the dark swing of Josh Clarke’s bass unite with the fiery veins infused by Lee. Though slightly more restrained in energy compared to its predecessor it is an equal in catchiness and uncaging lusty hooks as too next up No Way Out. There is more of a Social Distortion spicing to the third track, it again a bold and flirtatious proposal with an addictive chorus impossible to resist. With a bassline to drool over and an enslaving sing-a-long vocal temptation further in, the song hits the spot dead centre.
Final track, Better Days Will Come, is an energetic croon with a Joe Jackson like riff and Elvis Costello scented melodic suggestiveness, all wrapped up in Yorkshire Rats creative theatre. It is a fine end to an outstanding release with Mercy a vocal magnet even as hooks and melodies intensify their weight and temptation.
The EP is the most rounded and relentlessly contagious offering from Yorkshire Rats yet, its songs relishing the inevitable increase in as suggested songwriting maturity and individual let alone united craft. A must have for melodic punk fans? We think so!
The Yorkshire Rats EP is out now on Northern Ruff Records @ http://yorkshirerats.com/store/ and other online stores.
http://yorkshirerats.com/ https://www.facebook.com/yorkshirerats https://twitter.com/yorkshire_rats
Pete RingMaster 21/06/2017
Copyright RingMaster: MyFreeCopyright
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.
It is a thrilling creative ferocity more than matched within next up Consume. From its first breath grooves bait and trap the imagination and hips, the bruising of further predatory rhythms and the malice of vocal antipathy soon arising as the scent of a Bloodsimple joins punk irritability as much CIV as it is High On Fire like. Stalking the senses with more ursine dexterity and rigour, the track is viral vindictiveness but itself slightly eclipsed by its successor in the shape of the new All At Sea single Gimme The Mic. Initially there is a similar holler and shape to its attack to the previous track but an essence soon woven into and consumed by the song’s own groove laden, spite fuelled stomp. There is a bluesy taint to that grooving which simmers rather than flames within the sonic fire and rhythmic battering but adds another great hue to the uncompromisingly intrusive and anthemic battle front of the encounter.
The great start continues as firstly Hate imposingly shimmers with electronic radiance upon grunge bred antipathy to be followed by the rousing exploits of Get A Taste. There is a whiff of Pere Ubu for these ears to the first song but a thicker Nirvana like causticity to its nature and again niggling potency. Embracing garage punk confrontation too, the track stirs ears and appetite with ease, a triumph matched by its successor with its old school punk meets seventies garage rock growl as demandingly catchy as it is openly crotchety.
The make-up of the band is certainly cosmopolitan with lead vocalist/guitarist Beatrice Bonnano and lead guitarist Vito Cerasia Italy bred, drummer Amélie Gerbet hailing from France, and bassist Wai Ting So arriving in England from Hong Kong; all united in the urge and passion to create rock ‘n’ roll. The band released its well-received debut EP Royal Riot last year and though there was the Carry On Dancing demo two years previous, it was the spark to a growing attention upon the band, one which, if the single is anything to go by which will escalate with the Sugarbox EP.
The following Hate Hate Hate is swifter to unveil its antagonistic attitude, guitar and synth colluding in devious coaxing before Tobias unleashes a deliciously nagging groove as Emma stands hollering, irritation fuelling her presence and attack. She almost prowls song and listener, building her zeal loaded rage for the rapacious chorus; the sounds around her just as dynamic and predacious. Yet there is virulence to the repetitive groove and tenacious beats which has limbs and body as involved as energy and thoughts, dancing and rioting united in one song, though pretty much all the tracks within the album spark matching reactions.