Not having previously come across their previous trio of singles, their new track Bring on the Rain is our long overdue introduction to Indigo Sixteen. It is a compelling jangle of indie/punk devilry from a band looking ready to step into the long line of unique and compelling Scottish propositions of decades past.
Creating a sound which by design or chance embraces the essences of classic bands like Scars and Josef K as well as British outfits like The Libertines and Skellums, Edinburgh hailing Indigo Sixteen emerged in 2013. Leaning on inspirations ranging from Kasabian, The Smiths, and Joy Division to The Jam, Daft Punk, Kraftwerk, and Nirvana, Indigo Sixteen previously released the singles Decide (2014), And What? (2014/15), and Come and Go (2016). Now it is Bring on the Rain ready to stir greater attention the way of the quartet and as it plays in the ears it is hard to imagine it not rousing up a host of new fans.
The vocals of guitarist Stephen Mallin pull the song into view, the equally alluring creative clamour of fellow guitarist Matt McPherson adding its melodic jangle to his and the rhythmic shuffle of drummer Callum Davidson and bassist Andrew Stears. Carrying an energetic and virulent swing to its gait and spirited tenacity to its character and enterprise, the song reveals its punk and indie sides with zeal, merging them into a proposition maybe not yet truly distinct but as gripping and exciting as you could wish for.
Those earlier suggested flavours swiftly come to mind in the song to add to its appeal and a quickly bred anticipation for the next band’s next steps.
Bring on the Rain is out now.
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Pete RingMaster 21/11/2017
Copyright RingMaster: MyFreeCopyright
Royalties opens up with a song which has already lured praise carrying attention, Two Apart quickly enticing ears with its initial guitar jangle around the distinctive tones of vocalist/guitarist Ryan Ward. In no time, the swinging lure of Tim Williams’s bass and the melodic enticement of guitarist Adam Eccleston add to the song’s blossoming, the lively beats of Matthew Wright driving things with spirit. It is easy to see why the infectious exploits and dynamic prowess of the track has drawn keen plaudits, its boisterous exploits and web of melodic and sonic enterprise an accomplished and riveting proposal lined by that enjoyable Arctic Monkeys spicing.
Released through Shropshire based label Hartfield Records, Lost and Found is a swift arousal of ears and imagination. From a gentle guitar caress it blossoms into a lively stroll shaped by spicy melodies, energetic rhythms, and eager vocals. There is no escaping an Arctic Monkeys meets The Libertines air to the track, a rich flavour but one woven into something as freshly Slumdogs as anything familiar. As the song continues to swing along taking appetite and hips with it, guitars cast a blend of emotive and flirtatious melodies around the grumble of the bass and a lure of tenacious beats, it all under the leadership of the excellent vocals.
March, stirred keen praise and support into action which Trains can only stoke up again for Mitchell and Able with Louis Willbourne and Sean Nichols alongside.
Straight away it is easy to expect the EP to make a bigger stir as its best track leaps into ears with a dynamic contagion. Risk opens on the swinging beats of Matthew Wright, his arms no doubt a blur as his tenacious and attention stoking bait hits ears. Imagination and appetite is as swiftly grabbed by the dark meaty bassline of Tim Williams and the melodic jangle cast by the guitars of Adam Eccleston and Ryan Ward. The initial boisterous energy of the song relaxes a little as Ward’s alluring vocals join the revelry; alongside him William’s bass with brooding enterprise almost flirting with the song’s increasingly catchy tones. Fair to say, even before realisation of the virulence at work, hips and voice are firmly involved with a track leaving a lingering imprint in its wake.
Reuniting on the new single with producer Ken Nelson (Coldplay, Paolo Nutini, Badly Drawn Boy) and for mixing Dan Grech (Lana Del Rey, The Vaccines, Circa Waves), both handling the previous EP too, Whitecliff need mere seconds to grip ears with 5 Minutes. Its initial guitar jangle alone has the imagination engaged whilst the subsequent thick bassline of Paul Bates and the skittish beats of Tom Taylor soon spring hips and head bobbing into action. Vocalist Olli Nagy as potently as ever exudes confidence and charm whilst guitarist Jonny Ball gives a new wave character to his flirtatious dance of pick and imagination on strings.