Voracious in breath, bold in imagination, and a touch irritable in character the sound fuelling the debut EP from UK trio Neverlanded makes no concessions to expectations as they provide one of the more exciting and intriguing introductions heard over recent months. A feisty and uncompromising mix of grunge, alternative rock, and punk rock with an appetite for stoner hues, it is within the F.u.U EP, a striking confrontation as belligerent as it is brazenly adventurous.
Roaring out of North London, Neverlanded consists of vocalist/guitarist Pete Bloom, bassist/guitarist Niki Jester, and drummer Jaca Freer. Initially formed as an online project in 2017, the band has since released a trio of singles to stir up some attention which F.u.U, its full title being the Fluffy Unicorns United EP, can only forcibly escalate. Inspirations to the EP’s sound include the likes of Placebo, L7, Silverchair, Garbage, Nirvana, Cranberries, Pixies and Refused; a selection which gives you a good inkling of its breeding and heart if not its open individuality to those influences.
Neverlanded are giving the Margo Broom (Arrows of Love, Yassassin, Calva Louise) recorded EP available free to anyone who donates money to Mermaids UK, a charity the band eagerly and effortlessly supports in its work supporting children, young people, and their families to achieve a happier life in the face of great adversity including raising awareness about gender nonconformity in children and young people amongst the general public.
F.u.U pounces from the speakers with Brainsane first up, an initial melodic lure enough of a coaxing to set the senses in the face of a swift wall of noise though that too is a quick trespass as sonic calm and vocal prowess bridges another raw surge. Within it all Jester’s bass immediately proven manna to personal tastes but was as resourcefully matched by the biting swings of Freer and the fuzzy exploits of Bloom’s guitar. There is a definite Nirvana meets Pixies spicing to the song but that only added to its imposing magnetism and tempting snarl.
The following MesS.O.S. bursts from the speakers with punk ferocity but soon bounced along with appetite gripping unpredictability and noise rock infused grunge bred self-appraisal. That initial punk causticity still persists though fuelling the track’s rousing antics and agitated frenzy; the result a brief and severely appetising slice of punk ‘n’ roll before This Friend of Mine soothed an inflamed spirit with its invitingly crawling melodic stroll. It is a track where you can see those Placebo and Pixies references seeded but again flavours embraced and mutated into Neverlanded’s own inimitable sonic concoction. A blend of the feral and seductive, the track simply added to the compelling persuasion of the EP.
Scream4icecream completes the quartet of incitements, a song from its first bass amidst crispy beats burrowing under the skin and increasing its slavery through vocal snares and sonic wiring. The track is superb as are all enticements within an EP which had us quickly hooked and greedy thereon in.
How Neverlanded evolve from this impressive moment we will see but anticipation of that adventure is as ripe as the enjoyment with F.u.U was rich; so go explore and remember you can support a great cause at the same time.
The F.u.U EP is released April 1st, for more info go to https://www.neverlanded.com/home and https://www.facebook.com/neverlandedband/
Pete RingMaster 02/04/2019
Copyright RingMaster: MyFreeCopyright
It is an outstanding start which swiftly aroused a keen appetite for things to come; one soon reinforced by the following In Between Worlds. It too springs from a raw sonic misting into a virulent attack, its swing eating at instincts and psyche with viral tenacity whilst spreading another exploration of stark, ravenous times. There is more of a noise infested rock ‘n’ roll attack to its post punk, bass and drums a rapacious incitement upon which guitars and keys spread a toxic glaze while escalating the infectious and fractious catchiness of the song.
The following The Best Is Yet To Come is just as quickly and intrusively gripping. Featuring Cancer Bats front man Liam Cormier, the track simultaneously grumbles and seduces in voice and sound, the rhythmic trespass of drummer Julien Chanel driving its intent and forceful urgency as the guitar and melodic aspect of the vocals bring a ferocity tempering enterprise. As its predecessor, it demands and commands willing attention with adventure and imagination.
Breathe starts things off, the song instantly dousing ears in a tide of melody infused riffs as Freeth’s distinctive voice provides an expressive growl to already appetising proceedings. Dropping into mellower moments with keen hooks the track continues to grab attention, the calm leading to rousing crescendos which seem to become more inflamed with every outburst. With rhythms commanding and backing vocals eager, there is little escape from the song’s temptation, its more tempestuous air adding greater bait to devour before Atlas strolls through calmer waters. It is a restrained climate though still holding a volatile air in its surroundings, shadows which at times ignite with punkish tenacity and energy around equally controlled vocals and melodic persuasion.
The following Mmm Cheque Please! makes a just as striking entrance, another single strain of guitar bait making the first lure, rampant beats and Luke’s inviting vocals the next before it all blooms into another infectious canter. Daryl’s beats resonate as they land and Tom’s basslines grumble as much as they seduce while Mary and Luke share a tapestry of hooks and melodic endeavour which only leads to a greater appetite for song and release. Admittedly the track lacks the final spark which ignites its predecessor but leaves pleasure bubbling eagerly as does Dirty Weekend with its more restrained but wholly magnetic presence. Repeating a prowess which confirms Hello Bear masterful at creating big choruses and ripe hooks which simply infest the psyche, the song lays lustfully upon the senses.
It opens up with It’s Morphine Time, a song which descends on the senses like a tempestuous challenge from its first breath, but a threat just as quickly seducing ears and appetite as riffs and rhythms launch their hungry persuasion. In no times wiry grooves are entangling song and listener while anthemic vocal roars across the band find a great Beastie Boys feel to them. As it proceeds, the scent of bands such as Rage Against The Machine and Refused also colour the encounter, with frontman Simon Roach taking vocal charge as the barbarous rhythms of bassist Sam Leworthy and drummer Mat Capper badger and incite. It is a virulent infectious affair with the enterprise and fiery grooves of guitarists Ian Chadderton and Josh Mortazavi arousing, aiding and shaping the songs twists and turns as its metal/heavy rock antagonism and inescapable catchiness fuels pleasure, the song alone surely ensuring the EP’s certain success.
All the same it is a powerful and dramatic start to Vessels continued by the Sikth meets Incubus personality of Alarm. Once again, the guitars dance with invention and craft as rhythms crowd the senses with their hungry shadows, all colluding to burn fiercely around the equally inflamed and rousing tones of Forster. The track enjoyably blisters on the ear before seamlessly evolving into the rawer antipathy of Pockets. Sonic tendrils and band shouts bring fresh drama to the album whilst the bass of Pipe borders on predatory as it robustly swings through the web of unpredictable and intoxication grooves and scything hooks. There is something extra about the track, if indefinable, which its predecessors lacked, an essence which and hints at the adventure waiting to escape the album further on.