Gone By Friday – Quarter-Life Crisis

GlamourByFriday

Having grabbed attention with debut album Noisetank in 2011, New York pop punksters Gone By Friday have taken their time with its successor, whether by choice or not, but now return with Quarter-Life Crisis and it is fair to say that the band has upped the ante in sound, adventure, and fun.

The Queen’s quartet has discovered a new vivacity and energy in songwriting and sound, and they were no slouches there anyway as their last album proved. The eight tracks making up Quarter-Life Crisis simply leap at ears with a creative and imaginative vitality yet still retain the raw touches and essences which helped the band stand out in the first place. There is a maturity to the release which translates as contagious invention and whilst the release is still pop punk in its core form it captivates with raucous charm and fevered enterprise.

Formed in 2009 and tapping inspirations from the likes of Bouncing Souls, Greenday, Lagwagon, Rancid and Blink 182, Gone By Friday soon found their feet in the New York underground scene. The FreEP, a free to get EP and their live presence soon gripped ears and appetites, as well as establishing a base for their sound which Noisetank potently built upon. Now with another leap, Quarter-Life Crisis is here to re-ignite their tempting of new and broader awareness, and it gets off to a stomping start with The Hadean. The track opens on a blaze of guitar riffs which instantly has an old school punk/seventies R&B persuasion before muscular rhythms and scythes of sonic colour add to the heavily enticing start. There is a heavy rock essence with a touch of Sum 41 to it also, though it is not long before the pop punk heart of the track is romping with melodic infectiousness. The throaty basslines of Sean Ho provide their own striking bait within the encounter, but only matched in potency by the swinging beats of drummer Chris Berardi around the guitar enterprise of Peter Berardi and Billy Kupillas, with the latter’s vocals similarly bringing rich lures.

GBFcover   The strong start is swiftly matched by the raucous revelry of It All Starts With Me, a thumping stomp of a song with grouchy basslines and addiction forging hooks galore. At only a handful of seconds past a minute in length, it is far too short but still provides a tsunami of contagion and energy to exhaust and thrill without reservation. The sigh of disappointment at its brief tenure is soon forgotten once the clunky riffs and anthemic tenacity of Poison Jam steps up to ignite ears and energies all over again. There is an open familiarity to the song yet it matters little as its catchy devilry embraces body and emotions with insatiable energy and creative appetite, a mix driving the release as a whole.

600 Miles opens on a delicious acoustic enticing next, guitar and voice an immediately engaging proposal backed by the percussive and broader sonic imagination brewing away within the energetic croon of a song. Though it does not quite generate the more heightened reactions of its predecessors, the song leaves satisfaction full and appetite greedier, wants fed with gusto by Say My Name and the album’s title track. The first of the two is another acoustically opened encounter but straight away has rawness to it, a scowl of sorts which bursts into a fiery and aggressively melodic provocation. Its successor soon outshines it though, its opening dance of once more acoustically bred riffs carrying a Latin tempting which in turn ignites a voracious and welcoming tempest of compelling hooks, anthemic vocal harmonies, and irresistible nineties inspired persuasion. The song is a glorious rampage which alone sums up all you need to know as to why Gone By Friday makes for a thoroughly fulfilling feel-good proposal.

The album closes with The Story So Forgotten, a track like the last which feels like an old friend in familiarity but a brand new acquaintance in sound and temptation. It’s increasingly building and almost volatile anthemic intensity brings Quarter Life Crisis to a mighty conclusion, followed by another sigh that it is all over before fingers twitch and submit to pressing play again.

If the likes of Goldfinger, The Bouncing Souls, and Blink 182 whet the appetite then Gone By Friday have a treat for you, but equally they offer plenty to entice and please all pop punk fans within Quarter Life Crisis, so off you trot…

Quarter Life Crisis is available now @ http://gonebyfriday.bandcamp.com/

https://www.facebook.com/gonebyfriday

RingMaster 01/04/2015

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Archers And Arrows: Alone Together

Archers & Arrows pic

    Alone Together is a rather intriguing and thrilling album from Swiss band Archers and Arrows, a release which as much as it pleases and excites equally instils further immense promise for the band ahead as it evolves and explores a truly unique voice to its already quite distinct invention. Though it does not quite continually ignite the fiercest fires inside the album nevertheless thrills with its peaks and engages fully in its less individual moments.

Bringing influences of the likes of The Lawrences Arms, Further Seems Forever, Hot Water Music, Mae, and Thrice to their sound, the 2009 formed quartet of Sebastien, Nicolas, Bunty, and Yves conjure a stirring mix of punk, melodic hardcore, and indie. The band first drew strong attention in their homeland with their self-titled debut EP of 2010 which earned Archers And Arrows good radio play on Swiss national radio satiation, Couleur 3. Since then the foursome has furthered their reputation with impressive shows alongside bands such as The Gaslight Anthem, The Bouncing Souls, The Get Up Kids, The Chariot, Polar Bear Club, and Roger Miret (Agnostic Front). Their debut album one suspects is set to trigger a wider enthused awareness and from much farther afield such its impressive and evolving strength.

Opening track Innocence takes no time in scything through the ear with tight sonic grooves and melodic teasing before the excellent vocals take their place in the already captivating song. With every note and syllable the track has a fresh and crispness to its engagement which startles and warms the appetite. Arguably it provokes and suggests more than it delivers in uniqueness but all the time there is the feeling and expectation of greater things waiting to emerge from the appealing start and constantly it offers enough to keep one captivated whilst brewing a hunger for more.

The following Numb/Dumb steps from the closing strains of its predecessor with a delicious bass twang and indie hook persuasion beneath group vocal harmonies. Settling in to its stride there is a dissipation of that initial seduction into something more expected but the band are in control and twist the song with various asides and unexpected detours within the purposeful destination of the track. Again great vocals and accomplished imaginative guitar play leaves flavoursome rewards whilst the energy and agitation of the rhythms and passion brings an intensity which settles nicely alongside the melodic beauty.

     My Own God, Sing To The Wind, and the hard-core veined Self-Made Man continue the strongly convincing invitation of the album, all again offering inspired imagination and skilled enterprise which has one irresistibly focused to each swerve of the songs within their triumphant mix of styles but each also not quite going through with all their ideas to leave one a little dissatisfied as they also involve familiar essences well-worn elsewhere.

The second half of the album though is where things creatively explode as the band is at its most riveting and inspired; songs where they step aside into their own distinct spotlight. Danse Macabre offers a gentle hand at first though its rhythms are biting at the bit to involve an eager gait. Soon they get their way as the track opens up its presence with a dual emotive weave of expressive vocals, senses jangling guitars, and anthemic rhythms. The song is a delicious stroll of a band freeing up its imagination and heart, a contagious and emotive recruitment which leaves a heated ardour in its wake.

The title track and Dirty Hands both rise to the challenge and stand side by side in quality and stature to the first of the three. Alone Together merges a coarser vocal delivery with melodic flames which singe the ear with passion but tempers the acidic touch with addictive anthemic choruses and precise seductive hooks. It is pure pop with punk intensity and raw emotion, an inciting and thrilling piece of triumph. The third of the trio also carries a raw breath to its sonic victory and further inspires, with its co-conspirators, thoughts of how immense the band could and should become on the evidence of they and the album as a whole.

The closing Emergency offers one last treat in excellent female vocals which assist its lasting firm caress, the song completing an album which grows and impresses more and more with each sharing of its companionship. Archers And Arrows is a band to watch very carefully and Alone Together is the perfect starting point.

https://www.facebook.com/archersandarrows

8/10

RingMaster 13/03/2013

 

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