With more distinctive hues to their creative tapestry of sound than colours in a drag queen’s make-up palette, UK based Los and the Deadlines unveil their new EP to cast a captivating enticing which is as dynamically refreshing as it is imaginatively inflamed. There is adventure on every corner and inventive devilry within each creative breath of the Perfect Holiday EP, exciting times coming with increasing persistence over each and every listen. The band has sparked intrigue and enjoyment with previous releases but those just pale against the vibrant and bewitching exploration of this new Los and the Deadlines encounter.
The seeds of the band began when Arizona bred lead vocalist/guitarist Alex LoSardo moved to London in 2010. After being introduced to guitarist Neils Bakx, common interest and already existing musical thoughts began to bear fruit between the pair as they began writing and composing together whilst studying for their undergraduate degrees. A few line-up changes ensued as the band established its sound and presence, the time offering up a pair of strong EPs in the shape of Metro Talk in 2012 and Part One: Bank last year. Italian drummer Alberto Voglino had joined the band before the release of their second EP whilst Israeli bassist Rotem Haguel linked up more recently after another change in personnel. Whether he was the missing link to the band’s full potency others can decide, but there is no doubting a new spark and maturity, not forgetting energy, to Perfect Holiday which declares a band coming of age.
The band’s sound is often and understandably tagged as art-rock but as opener Feel At Ease quickly reveals that barely hints at the evolving brews of grunge, stoner, punk, noise, and many other rock ‘n’ roll spices woven together in the EP’s individual exploits. The first song is an immediate throaty groan of heavy bass, discord deranged guitar, and jabbing beats. It is an almost menacingly brewed lure which never flinches as the spoken delivery of LoSardo opens up a just as pungent narrative. Fresh predatory air hits all areas before the song opens out into a catchy and melodically tempting chorus, its appearance another trigger as the song returns to its stalking but with a hungrier and livelier nature. We would suggest as this and all songs play, each listener will find their own references and hints to compare songs with, and here, thoughts of early Squeeze, Split Enz, and just a touch of Pere Ubu nudge these thoughts.
The outstanding start is followed by It Could Be So Much Better, an instantly grittier and more classic rock toned saunter resonating to metallic swipes on drums and blossoming a bluesy tang to the winding grooves of the guitars. Melodic vocals only add to the sultriness whilst off kilter scythes of sonic invention ensures another song not here just to feed expectations, even if it is arguably less adventurous than surrounding proposals with its fiery Red Hot Chili Peppers like smoulder. That is not to suggest the track has an air of predictability, just that it is less creatively ‘psychotic’ compared to the likes of The Youth’s Opinion which follows it. Once again the band opens a track up with the richest bait, rhythms and riffs compelling enticement with a touch of grouchiness which soon expands into a maze of wiry grooves around a Queens Of The Stone Age melodic revelry. Addictively virulent and tenaciously imaginative, the song swings and dances on ears, treating them to further sonic and warped resourcefulness which it would not be too far from the mark to suggest plays with a Melvins spicing.
From one glorious incitement to another as Batshit Crazy steps forward, its entrance a merger of crispy beats and a heavy, dark funk bred bassline around more greatly alluring tones of LoSardo, the vocalist potent whether speaking or singing across songs. Though restrained in its energy and assault, its title sums up the song’s nature perfectly, a funky Jane’s Addiction like prowess colluding with Dog Fashion Disco like imagination. To be fair all references offered never weaken something original to Los and the Deadlines, and as mentioned everyone will hear someone different within the band’s unique waltzes.
The shadowy flirtation of the track makes way for closer We Lust To Shop For Nothing, another with a Josh Homme like touch to its inventive colouring though in no time the song expels a blaze of rock ‘n’ roll which is more I Plead Irony like but constantly creating its own addiction sparking, ridiculously infectious emprise of sound and ingenuity. As all tracks, there is, for want of a better word, bedlam at the heart of the song, a ‘crazed’ weave which is as fluid and magnetic as it is relentlessly surprising.
As suggested earlier, Los and the Deadlines have suddenly blossomed from an enticing potential fuelled prospect into a beast of ravenous and mouth-watering rock ‘n’ roll, though again that really only hints at the thrills found within Perfect Holiday.
The Perfect Holiday EP is out from July 13th