How to describe the new EP from UK garage punks Pretty Pistol; well feral certainly fits, sonically clamorous and tenacious too but suiting it most is simply that Welcome to the Dead Club is rather damn good. Offering four virulent slices of punk fuelled noise, the release is another of the year’s special moments so far more than worth a few minutes of your time.
Formed five years after the initial chance meeting in 2010 at a Hole gig by vocalist Laura Le Rox and drummer Emma Waller, Pretty Pistol’s line-up is completed by guitarists Rich Cooper and Billy Larsen. Described as “Sitting somewhere between Gallows, Be Your Own Pet, Milk Teeth and The Kills”, a pretty suitable intimation, the South London quartet has made a potent mark on the capital’s live scene, sharing stages with the likes of Penetration, KidBrother, Drones, and Crazytown. Recorded with producer John Mitchell (Architects, Enter Shikari, You Me At Six), Welcome to the Dead Club is their inescapable jab at bigger attention, a raucous swipe not easy to see being ignored.
As opener Cry Wolf explodes on the senses, instantly there is no escaping the rapacious presence of band and song, and indeed the magnetic tones of Le Rox. Her attack is as urgent as the sounds around her with a hint of ‘desperation’ to its lilt though really it is just an earnest bred eagerness to stir things up, again just as the individual garage punk sound Pretty Pistol unleash. Riffs and rhythms collude in devious persuasion, getting under the skin as forcibly as the flying hooks and that glorious verbal trespass. There is a touch of Asylums to the track too which only adds to its virulently striking presence and to be honest if the goodness stopped right there we would still be urging attention the EPs way.
It is not an alone treat though as the following Drive Me To The Dogs quickly reveals. The gnarly stride of bass makes an immediate lure, post punk spun tendrils a swift second as the track infests ears. Its melodic and catchy chorus tempers the trespass a touch but only backing up its infectiousness before the cycle enticingly repeats. Waller’s beats land with purpose and anthemic prowess as the guitars entangle ears with sonic toxicity while Le Rox backed by one of the guys, is an insurgent siren you are not sure whether to embrace or fear.
Another appetising bassline lures Hurricane into view; its bait immediately followed by an ear worm of a hook and in turn a blast of voice and attitude. For no obvious reason but strongly we were reminded of Red Tape as the track continues to blossom in enterprise and temptation every twist and turn making a keener captivation in another rousing if too short a gem within the EP.
The release concludes with the equally compelling No Guts (This Is Glory), a web of swiping beats, belligerent bassline and devilish sonic enticement bound in the vocal carousing of Le Rox. Cannily fingering the imagination whilst heartily firing up the senses and spirit, the song completes a fiercely and irresistibly exhilarating proposition.
Living up to the band’s name, Welcome to the Dead Club is a threat lined, danger fuelled beauty and Pretty Pistol a band we expect to make a continuing if not major impact on the British punk, indeed rock scene.
Welcome to the Dead Club is out now through SaySomething Records @ https://www.prettypistol.co.uk/store/welcome-dead-club-cd
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Pete RingMaster 20/04/2018
Copyright RingMaster: MyFreeCopyright
Making History backs up the fine start with its own line in melodic suggestion and rhythmic persuasion, it too keeping a hold on its boisterousness but giving enough of a rein to stir the spirit especially within another rousing chorus. The guitars of Darrell Ellis and Joe Soar weave a captivating web of sonic adventure with the former’s vocals potently backing the lead tones and expression of Luke Smithson. There are no big surprises yet each moment of accomplished endeavour increases the song’s draw, a quality just as inescapable in next up All On You. High Down has been given comparisons to artists such as Blink 182 and New Found Glory, the third track with its high kicking beats and nagging riffs a contagious example of why. There is a greater fire in its belly than in its predecessors and similarly an even more imposing catchiness that commands attention and response as smart hooks and harmonic dexterity relentlessly tempt.
The following White Flag potently backs up the great start; its enterprise similarly resourceful and ear catching without making over aggressive trespasses upon the senses. There is elegance to the First Signs Of Frost sound which charms as the craft of the individuals captivates; again making for a gentle almost smouldering seduction carried in a contagious and skilfully conjured proposal.
The great start is keenly backed by new video/single North South Divide which too needs little time to have ears lured and bodies bouncing. The swinging beats of drummer James Holdsworth make a great driving impetus to its exploits, the heavier tone of Tommy Roberts’ bass bringing a fine tempering to the fiery flames of guitar which again firmly hold ears and appetite as vocals share the song’s emotive heart. Calmer moments only add to its strength, revealing bolder aspects in the band’s imagination before Inside Out jumps in with its just as keen energy and tenacity. Though it lacks some of the more unpredictable twists of its predecessors, the track is a contagious proposal leaving enjoyment full and giving plenty of clues to the band’s success as a live proposition.
The following Time Stops is a similar fusion of metallic strength and melodic beauty; keys and the melody courting guitar of Calum Radmore weaving melancholic grace and sentiment as the lively beats of Ashley Haskell probe and incite the senses. With Jones’ bass grumble emotionally vocal, the track is a croon of shadow and open hearted yearning led by the vocal potency of Bradford again magnetically supported by Jones.
The second song makes a bolder entrance, keeping its boisterous character going as it slips into a pop punk infused stroll with nagging riffs and eagerly prowling rhythms. Edmonds again impresses as great harmonies soar around him at times, it all gaining greater energy in the track’s rousing chorus which just tops the thrilling encounter perfectly before it hands ears over to the emotively shadowed and musically vibrant Miserable. Riffs and hooks have a bite to them, backed by the rapier swings of Dornan, which accentuates and gives greater character to the melodic endeavour surrounding them. With its predecessor, the song provides the pinnacle of the EP, though the ‘step down’ is barely noticeable as Art School manages to simultaneously croon with emotive flame while whipping up a feisty physical involvement. It might lack the extra spark of adventure of the previous pair, but in no time it tempts with throbbing riffs from bass and guitar amidst the contagious nature of hooks and group vocals, and a blaze of a chorus.
It opens with that first single, and straight away Arrogance has ears welcoming a sturdy wall of hungry riffs and swinging rhythms. Things relax a touch as the vocals step forward though grooves still engagingly flicker and hooks bite through the guitars as those initial rhythms continue to command attention with their tenacious and weighty persuasion. Hitting its stride in no time, the song soon offers a contagiously rousing chorus and an enticing mix of varying intensity and eventful twists; all fine elements in the anthemic proposal that body and voice cannot resist getting involved in. It is a great start and easy to see why the track made people look up last year, and a success potently backed by the following likes of My Skin and Holding Back.
As Seasons opens with Pictures, there is an immediate lure of popping guitar strings as a seductive melody wraps around ears. It is a swiftly engaging entrance to release and song reinforced by the strong melodic tones of Murray and subsequently the darker heavy hues of bass amidst crisp beats. As things evolve, a sultry country tinged twang escapes guitars, sparking brightly against the sombre yet warm atmospheric sky of the song. As it continues, ears are lured deeper into the song’s creative heart, every passing minute a discovery of subtle but openly inventive twists and elements which have laid in wait for their moment to please and intrigue. The band has cited inspirations as coming from bands such as Feeder, You Me at Six, and Twin Atlantic, and similar spices, if not direct comparisons, certainly colour the opener and its following companions.
Formed in 2014, the quartet soon sparked keen online attention with the release of debut single Start It From The End, its release soon followed by over 60,000 views on YouTube and the luring of over 30,000 followers across social media since. Drawing on inspirations ranging from Fall Out Boy, You Me At Six, and Panic! At The Disco to Foo Fighters, Young Guns, and Lower Than Atlantis, the band’s sound has persistently evolved with each release too starting with their impressing debut EP, We’ve Come A Long Way. Live the band has equally earned a potent reputation, sharing stages with bands such as The Blackout, William Control, Metro Station, Motion City Soundtrack, Fearless Vampire Killers, and Verses along the way. Both the Love Struck Kids and I Rewind singles of last year hinted at further growth in songwriting and sound which now People Change backs with infectious charm.
The EP opens with the rousing incitement of Elegy. Instantly a wall of eager riffs and punchy rhythms descend on ears, stirring up an appetite which is only increased by the great vocal drama and expression of Black as well as the unpredictable nature of the music around him. It is easy to understand the Muse references as an imposing rhythmic shuffle colludes with a web of guitar courted by captivating bass predation. Managing to be aggressive and experimental in a single moment, a raw seducing aligned to boisterous rock ‘n’ roll in another, and that is just a couple of aspects of the gripping and inventive landscape of the song, it has the imagination enthralled and ears fascinated from start to finish; it the kind of majestic anthem which bands are marked by.