Nine Dart Finish is a British outfit drawing on the wide influences of the likes of Weezer, Supergrass, Queen, and Ian Dury for their pop fuelled rock ‘n’ roll; The Misadventures of… is their debut album which unapologetically has the body bouncing as fun floods every pour of its magnetic enterprise. The trio from Birmingham has already lured potent attention from fans and media alike with a handful of singles especially potent; appetites for their boisterous sound which their first album can only multiply.
Consisting of former Coffeeshop member in lead vocalist/bassist Daz Yardley, guitarist/vocalist Christopher Mobbs, and drummer Andy Proudman, Nine Dart Finish first drew ears with debut EP Fall To Pieces late 2015. Since then their hook loaded pop ‘n’ rock has grown and become more creatively mischievous by the song. The Misadventures of… brings all the enticing dynamics and lusty grooves of the band’s sound as well as those devilish hooks the threesome seems to instinctively conjure together in one rousing enjoyable place.
Bringing the lively antics of recent singles, highlights of that first EP and new tracks together in one captivating union, The Misadventures of… roars into view with the outstanding The Cut of Your Jib. The track is wild rock ‘n’ roll, almost feral in its energy as riffs and rhythms harry ears just as eager vocals blaze. As the album continues it is easy to see why certain tracks were chosen and potent as singles and teases for the full-length but for personal tastes it is tracks like the raucous rock bred opener which trapped the keenest attention and passions. With a touch of Queens of the Stone Age to its contagious tempest, the track is a garage rock lined clamour getting the album off to a magnificent start.
The following Fall to Pieces is a far calmer proposition as a melodic jangle colludes with vocal harmonies before the track settles into its warm catchy swing. There is no preventing the quick shuffle of feet to its stroll, keys adding to its summery scent as vocals and melodies entangle before In the City uncages its own rock ‘n’ roll flame. Within its slightly rawer attack, hooks tease and tempt as riffs nag, Proudman’s beats striking with relish as they drive the infectious escapade.
Recent single Kicking & Screaming is next, a song which blossomed by the listen as its organic rumble aligns to melodic enticement. The former gives the otherwise gentle seduction a volatility which imposes without truly erupting, a combination gripping ears within a grunge pop like proposal while Charlie Bonkers offers up a melody woven slice of Brit Pop nurtured enterprise. It is fair to say that the song did not impact as potently as those around it on our tastes yet as honest to admit it had the hips swinging and vocal chords playing without any trouble.
You Don’t Bother Me similarly did not quite grab as strongly as many of its companions with its sixties hued pop but again involvement in its enticement was unavoidable as with the blues kissed rock of Falling for You. Both tracks epitomises the band’s knack at weaving varied and seriously catchy adventures though each is swiftly overshadowed by the album’s finest moment consisting of its final three songs.
From its initial melodic caresses Fabio’s Overture blossoms into a truly mesmeric slice of pop rock, emotive strands in voice and sound entangling another lure of virulent catchiness as inescapable whether the song is ablaze or simply smouldering. Its thick enticement leads into the rousing devilry of You’re so Cool. As again pop floods its bold rock ‘n’ roll, the track nags and taunts attention with relish. With something of UK duo The Sea about it, the track is superb rivalling the opener for best song honours though they are equally matched by the tenacious stomp of album closer London. There is a certain mod like hue to the song which only adds to its outstanding character and roar.
Though as mentioned there are some tracks which undoubtedly eclipsed others for us, The Misadventures of… is one thoroughly enjoyable involvement from start to finish. Nine Dart Finish have a sound with open growth in every new song so expect many more lustily fun times ahead as well as right now with their new offering.
The Misadventures of… is out now through iTunes and other stores.
http://ninedartfinish.co.uk/ https://www.facebook.com/NDFmusic/ https://twitter.com/ndfmusic
Pete RingMaster 17/07/2018
Copyright RingMaster: MyFreeCopyright
Cave follows, a song openly embracing that Deftones inspiration. Its atmospheric caresses provide a mellow sigh to complement the similarly calm tones of Lim, the guitar of Sam West a radiant shimmer alongside as the mist of keys is slowly walked through by the sombre but magnetic stroll of Chris French’s bass. With the crisp beats of Sergiusz Brudek adding their inviting touch it is an infectious calm yet there is a sense of disturbance glimpsed in its depths, one which brews and festers until erupting in an immersive wash of volatility and sonic intensity. We cannot say that the song sparked the same richness of reaction and pleasure as its companions just due to personal tastes but there is no denying that it had ears gripped and appetite feasting before drifting away.
Darker Days is next, its electronic scuzz even deeper and dirtier than in its predecessor to accentuate the candescent sounds wrapping broad and intimate shadows. Richly captivating with its own individually bold sway, the song wears the scent of post punk and neo-psychedelia in its creative sigh; a The Jesus and Mary Chain meets The House of Love kind of wash adding to its rich pull before Animal floats in on a sonic breeze. Its climate is soon a sweltering embrace easily luring ears and imagination to its exotic heart and bluesy drama. It is a track which epitomises the album, making a strong and potent first impression but only glowing brighter with every listen.
The following War Within similarly warms the appetite with recognisable and unique adventure. The dark hues of Paul Shott’s bass cast a great shadowed but infectious lure at the heart of the song and its catchy swing; egging on its virulent instincts and in turn those within the voice of George just as potently backed by those of Gardner.
With his equally well-received single of February, You Ain’t The Girl, the trio of tracks this year to date revealed a great broad and imaginative canvas to Antoniou’s sound which Rag Doll stretches just a little more. The track has a tasty line in dark blues rock in its virulently infectious swing, a teasing almost sinister texture infesting the delicious groove and rapaciously tenacious character of the song.
Recorded with Kyle Martin at The Garage Studios in South Shields, No Pressure No Rush opens with Homework. A vocal hush ignites an attention luring pulse of guitar which in turn sparks a composed stroll of swinging rhythms and alluring sonic causticity. The potent vocals of John nestle within the raw flames, the track continuing to almost lumber along. It is an intrigue provoking proposition which certainly had us firmly attentive and animated if not quite as excited as later in the release.
Lead single Smiling Shame follows with its own outbreak of stirring riffs and enterprise. The crisp beats of Drew Michael persistently tap on the senses as the guitar weaves a web of melodic temptation, aligning its grooved suggestion to the dirtier antics of the bass. With surges of almost carnivorous intent and volatile roars, the song ignites its calmer body with rich imagination and though it never quite matches up to the excellence of its predecessor has ears and appetite well satisfied.