Every release comes with a host of persuasive words in press releases etc. telling you that their focus is something essential to your pleasure and personal soundtracks. Sometimes the build-up lives up to the proposition in question, sometimes not and of course the only true representation comes with the actual listen. Occasionally though, they hit the target dead centre and such is the case with the Better Safe Than Sober EP from UK outfit Courtesans. Words around it claim the release to be “one of the first unique sonic amalgamations to be heard in 2017”; a suggestion spot on except it forgot to say ‘first and best’ as well as ‘heard this, last, and plenty of time before that’.
Coming three years after their acclaimed debut album 1917, a release like the EP emerging from highly successful crowd funded support, Better Safe Than Sober is a mesmeric dark blossom of the London band’s dark pop, a tag which barely covers their fascinating sound. Haunting and seductive, unapologetically insightful and melancholically hypnotic, the band’s music challenges and incites. All aspects have simply flourished between releases and now come to a mutually evocative and provocative head within the outstanding Better Safe Than Sober.
Intimate and socially reflective across its shadow draped body, the EP opens with new single Mesmerise, a song about losing one’s identity in and outwardly. The song is glorious, instantly caressing the imagination with its shimmering caress of keys and the brooding bassline of Agnes D. Jones as Sinead La Bella’s voice adds its own transfixing presence. Like a dark serenade, the track soothes and provokes from its first breath, the drama of its melodic and atmospheric touch compelling. Like a siren it lures body and mind into its creative lair, invading the senses with charm and elegance like a blend of Throwing Muses and early Cure. The bewitchment is completed by the web of drama spun by Saffire Sanchez’s guitar, given trespassing strength by the heady beats of Vikki Frances with the smouldering emotion of it all building to a fiery crescendo of defiance and intensity.
Feel The Same is just as captivating, a single strand of guitar skirting the spoken delivery of La Bella as harmonies float around them. As it spreads its infectious sounds around introspective reflection and realisation of the deceit of others, there is a touch of 4 Non blondes to the track but as in the first song, a reference which only hints at the uniqueness on offer in a second irresistible incitement within the EP.
Next up John Doe similarly centres around the recognition of the ills in one’s life, a broader social outlook surveyed. From its opening Midnight Oil like rhythmic throb and lilt, vocals lay melancholic hands upon ears. Beats and bass are soon increasing their respective punch and moodiness as angelic harmonies glisten around La Bella. Bewitchment again is the only suitable word, the song almost shamanic in its rhythmic dance and haunting beauty.
An imposing edginess comes with Knowhere; a steely tone and rapacious attitude lining the tempestuous slice of raw indie punk hued confrontation. Its air is sinister, deceptive as lures and hooks tempt and entice the listener and hope into the snarling heart of the demon battling the song’s melodic light and catchy enterprise.
The released is finished by The Tide, a song straight away gripping ears and attention with an opening melody resembling the John Carpenter scored Halloween soundtrack as La Bella’s words again paint a picture of emotional honesty. Bursting into a melodic rock fire with senses licking flames, the track commands body and imagination, its perpetually alternating and evolving landscape an arousing revelation reminiscent of Danish band Forever Still when its blaze is at its richest.
There is simply no arguing that Better Safe Than Sober is one of the year’s biggest moments so far, an essential investigation which only increases its hold and stature with every involvement in its open conflict of light and dark.
Better Safe Than Sober is out March 31st through most online stores with physical copies available @ http://thecourtesans.bigcartel.com/product/pre-order-better-safe-than-sober-ep
Upcoming live Dates:
1st April – MANCHESTER – Ruby Lounge
5th May – BRIGHTON – Green Door Store
23rd July – GLOUCESTER, Amplified Festival
https://www.thecourtesans.org/ https://www.facebook.com/thecourtesans https://twitter.com/the_courtesans
Pete RingMaster 31/03/2017
Copyright RingMaster: MyFreeCopyright
It opens with Lowers, an initially low key affair with slowly unwinding rhythms leading ears into the enchanted landscape of vocal seduction and melodic expression. As swiftly though, the abrasing fuel of the band’s sound is potently shaping song and thoughts as the guitars of vocalists Tauna Leonardo and Elaina Tardif, matched by fellow six string craftsman Christopher Klarer, entwine and evolve into darker and harsher protagonists. The track is mesmeric, an absorbing trespass which especially hits the sweet spot when the sonic animus of noise takes over and violates psyche and senses.
With a UK tour in motion and a host of other events lined up, the band is set to be as busy as ever with the strong potential of greater success and praise heading their way just taking Jobin as a cue. It opens with its title track grabbing ears with an instant bait of crisp beats from Sid and the siren-esque lure of Henry’s seductive grooves. Their winding tendrils continue to entice and vein the rhythmic potency of the song, Esme’s bassline as captivating and alluring as her magnetic vocals and the surrounding celestial harmonies. The melodic character of the song has a House Of Love hue to its tempting with a psych rock flavouring only adding to the overall richness and raw yet elegant climate of the spellbinding track.
The excellent opening to the album continues with Selfish Burn which again has that Gwen Stefani and co spicing to its feisty pop ‘n’ roll. Throaty funk infused bait from Fred’s bass provides a potent spine to the song, an agitated smoulder of sonic and melodic resourcefulness laying upon it whilst Margarita’s tones again add a lusty freshness with a tinge of mischief to the temptation. Though seemingly crafted from the same template as the first and next up Yellow & Bliss, each song reveals its own individual and forcibly enticing character. The third track, and the band’s brand new video/single, is a lively shuffle with skittish rhythms and an animated gallop of chords and hooks beneath a breeze of warm harmonies and psych rock tinged enterprise, and quite irresistible.
Your Friend Kimmie starts the band’s new temptation off, opening on an instantly alluring bass coaxing soon embraced by surf lined caresses of guitar. The smouldering invitation is increased as the warm siren-esque harmonic tones of Weinberg gently lay upon the spreading strands of sonic enterprise and low key but pungent rhythmic bait. A sultry serenade fondling ears and imagination, the song makes a potent start for Daydreaming but is soon overshadowed by firstly the inescapable catchiness of So What May and in turn the haunting romance of Bad Reputation. The first of the pair saunters with a spicily melodic smile and infectious rhythms, its breath carrying a nineties scent which only adds to its easy pull on a keenly growing appetite for the release, whilst the second sways with a seduction of slim but quickly gripping hooks amidst a mesh of melodic tendrils cast by the guitars.
The track is creatively irresistible, a major flirtation matched by the band’s new video/single Community Service. A throbbing Cure like bassline sets things in motions, whispers of guitar lining the entrance of vocals with Kirk alone an enthralling invitation and in union with Carsey, inescapable tempting. The song proceeds to spin a web of tantalising vocals and hooks as its rhythms offer a shadowed prowl against the more celestial flight of the keys. It is captivating stuff, an inventive weave of textures and melodic infection, with the description of Xmal Deutschland meets Throwing Muses and indeed Pylon a canny hint.
immediately takes a grip with its opening salvo of rolling drum hooks and engaging guitar beckoning, their touch wrapping an inviting arm around the shoulders of the senses, luring them deeper in the focus of the song and the impending scuzz lined bluster of its heart. As it parades its impressive presence within the ear there are loud whispers of bands such as Au-Pairs and Girls At Their Best as well as the scintillating discord challenging likes of Breeders and Throwing Muses apparent. The song is as infectious as it is aurally evocative and recruits the passion with ease to its contagious cause rewarding with intense rewards in return.