Suggesting they might be the ones to give the British pop punk scene an invigorating new breath, Portsmouth hailing High Down have just released their first EP. Moving On offers five slices of ear pleasing infection carrying punk rock, each bearing a sound with a spikiness which alone commands attention and further investigation.
Emerging last year, High Down made a potent mark with debut single Family & Fiends, the track recorded with producer Matt O’Grady (You Me At Six/Deaf Havana). Its impact was followed by the band playing slots at the likes of Seasick Fest, Butserfest, and Teddy Rocks Festival as well as share stages with bands such as WSTR, Roam, and Like Pacific. It is fair to say that things are beginning to stir for the quartet, a motion sure to gain momentum through Moving On.
The EP opens up with new single Life Lessons, guitars instantly luring ears with their catchy invitation. It is an infectiousness which is as instinctive in the vocal prowess of Luke Smithson and the rhythmic stroll of bassist Tim Hoolahan and drummer James Grinter who it appears has since left the band. The energy of the song is bold but with an enterprising restraint, it constantly pulling on the reins throughout but blossoming from that same reflective control. Feet and ears are soon lost to its temptation, appetite to its mix of harmonic warmth and again reserved but open irritability.
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 acoustic seduction of Rescue Me follows with vocals and guitar crooning knowingly with thought and emotion. The song features the guest tones of Nottinghamshire singer Christina Rotondo, her vocal beauty a striking essence in the union with the similarly impressing presence of Smithson. With a rawer edge to its gritty finale, the track grows in intensity and emotion to truly hit the spot before making way for the pinnacle of the release. The best track on offer for these ears, Against The Tide instantly winds wiry tendrils of guitar around ears, their steely touch alone a keen lure but only tightening their invitation with their niggling prowess, one matched in dexterity and persuasive trespass by the muscular swings of Grinter and the growling bass of Hoolahan. It is a dynamic and imposing yet again seriously infectious proposal to bring the highly enjoyable encounter to a fierce close.
In many ways there is nothing overly remarkable about Moving On yet every moment it shares is rich in enterprise and energy whilst being backed by a potential which suggests High Down can have a big presence on the UK if not European pop punk theatre.
Moving On is out now and available @ http://highdownuk.bigcartel.com/
https://www.facebook.com/highdownuk https://twitter.com/highdownuk
Pete RingMaster 05/09/2017
Copyright RingMaster: MyFreeCopyright
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.