Having been forcibly grabbed by their single Hurricane Blues a short while back we just had to beg a copy of the EP from whence it came just to explore UK rockers The Bluebook Project that little bit more. Thanks to the band itself and Emma of Pluggin’ Baby, we are now in the position to say that if the Bedfordshire hailing quartet had you leaping and smiling with their single you will be wearing the broadest grin after the incitement of Take Me Away.
The four track release is a punk infused slab of attitude driven rock ‘n’ roll which manages to bully and seduce the senses from start to finish. Weaving in inspirations from bands such as Iggy Pop, The Who, and The Ramones through to Oasis, Arctic Monkeys, and The White Stripes, into their own rousing imagination, The Bluebook Project create an anthemic confrontation that leaves feet exhausted and passions wanting just that little bit more. Formed in late 2013, the band spent a huge chunk of last year touring the UK as well as earning shows supporting bands such as Slaves and Coasts. The tail of 2014 also saw the release of debut EP Out of the Blue, a well-received and praised offering now beginning to be surpassed in acclaim and attention by Take Me Away, and as the first track alone rouses up body and emotions, it is easy to see why the growing buzz around The Bluebook Project.
It is indeed the single Hurricane Blues which opens up Take Me Away, a song which in the words of vocalist/bassist Dan Thorn is “…about someone suffering from anxiety and how through their frustration and insecurity they are overcome by anger and lose control“. From the first hefty swings from drummer Benn Davis-Gregory, his arms throwing thick addiction casting beats, the song is badgering and enticing ears, commanding real attention as scuzzy scythes of guitar align to the distinctive tones of Thorn, both reinforcing the early irresistible bait. Continuing to throw up an aggressive haze of sonic enterprise via guitarists Jordan Smith and Dan Watson, spicy grooves a seductive toxicity within, and dirty rock tenacity through bass and drums, the track growls like a mix of The Senton Bombs and The Screaming Blue Messiahs fuelled by primal punk rock ferocity.
The song still hits the sweet spot after hordes of listens and sets the EP off in mighty fashion before Anxiety Drownin’ throws its irritable rumble of antagonism and fiery tenacity into an increasingly eager attention. There are ’mellower’ textures to the song compared to its predecessor, though it still snarls like a predator and shakes like a dog in heat as it creates a two minute explosion of garage and punk rock contagion. Hooks also are maybe not as sharp as in the first song but led by the magnetic tones of Thorn, and his angsty basslines, the track takes the listener on a riveting ride of infectious adventure.
Pockets of Dirty Change steps up next, swinging its rhythmic shaped, groove clothed hips with the knowledge it is one cool protagonist certain to have feet and imagination in salacious rapture. The guitars offer a swarm of flirtatious hooks and virulent grooves but equally the more direct element of riffery and rhythms carry an inescapable catchiness which is only matched by the delivery of Thorn and the organic dirtiness of the outstanding song.
The best track on the release is followed by its closer, the fiery Regrets Gone By. It is not a song to rival top slot on the EP but alone casts a seriously appetising theatre of inventive and inflamed rock persuasion that only has ears increasingly hungry for more. It is a potent close to a real blast of old school punk meets modern rock ‘n’ roll from a band you can only feel is heading to truly big things.
The Take Me Away EP is available now via iTunes
Pete RingMaster 02/09/2015
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bassline. It is soon immersed in a caustic mesh of guitar abrasion, the song twisting and launching in unpredictable and riveting style like a mix of The Screaming Blue Messiahs, Melvins, and KEN Mode. There is also in many ways an element of the senses grazing rabidity which drives The Mad Capsules Markets to the sonic turbulence and tenacity spilling from within the songs creative fury. Adding a delicious strain of surf rock to its melodic acidity too, the track soon steals top honours on the release though it is soon rivalled by the salacious scuzz tempting of Stoned where sludge and noise collude with garage punk and again a surf bred devilry for a compelling seducing of ears and imagination alongside a lingering erosion of the senses.
psychotic wails displaced by a barrage of rumbling beats from Hodge and sabre like riffs from Elliott. Amongst their instant persuasion the nimble fingers of White bring throaty bass slaps into the mix and slightly crazed vocals which within the devil bred brew being cast recalls The Orson Family in touch. The song is pure psychobilly and an evocation of primal urgency to join its hungry commanding mood. The track also gives portent of the album ahead, its body a twisting and varied temptation that has limbs and voice offering their well in our case, feeble blasphemous help.