For those of you who haven’t read my first review, or not heard of the band, they are a four piece comprising of Ali Horn – Lead Vocals/Guitar, Louis Bransgrove – Lead Guitar/Backing vocals, Ellis Bo Fellis – Bass/ Backing Vocals and Tom Grant – Drums/ Backing vocals.

My first reaction when I got the venue was ‘Your having a launch party for an Indie band in a tea room?’ I was worried, the venue seemed small, and just not up to the task. I needn’t worry, I went upstairs, to a vast room where the band were rehearsing, the room could easily accommodate a few hundred invited guests and potential fans, which is lucky really, as this basically what we ended up with. There we’re a couple of warm acts, but of no consequence, as we were all there for one reason, the headline act.

They didn’t disappoint on the night, and put on a good show for the meagre £3 entry fee, that also came with a copy of the EP.

The EP itself contains 8 songs, the last 3 being demo tracks, and we’ll start at the top, it opens with ‘Keep Swimming’ a great opening bass line and a sound reminiscent of the Libertines, the chilling style to vocals in the opening track are not going to win any lyrical genius awards, but what they do, is they allow you to focus much more on the guitar, drum and bass work on show, which is very strong on this opening track and help to set the bar.

Next up, is one of the stand out tracks from my first review back in October, ‘Michael’ which at the time I cited, doesn’t sound like the finished article, goes a lot of the way towards becoming it into in this latest offering. Everything just feels more together, I don’t know what attributes this change, whether it’s a change to the way the band play the song, or just that the band have grown into it the more they have played together, but either way, this would go a long way to winning over many many fans.

The next track on the EP is ‘Naivety and Optimism’ which although not to be written off musically, does not showcase the band as well as others, it again has a cracking tune to it, and runs from beginning to end in an absorbing fashion, but fails to build on the ground work set by the opening two tracks and more importantly by ‘Michael’ . This is a bit of a malaise shared with 4th track, ‘Life and death’ which like it’s predecessor, is fine, but just wouldn’t make it to a potential singles list.

This is broken by the fifth and final track on my review list ‘Ready to fall’ a quick change in lead vocals for this track see’s lead guitarist Louis step into the front man slot, and his voice excels, the lyrics are apt, and almost like the soundtrack to modern Britain, dealing with the youth of today and the recession in a jovial yet way yet with a serious undertone. Whilst the song is musically brilliant, managing to keep you interested all the way through.

My overall impression of this band, and of the EP are hardly what I’d call precise, I really like the band, they bring together the best bits of their peers, in a genre filled with big names, like Morrissey and the Libertines, whilst still managing to remain original, they evoke emotion whilst allowing you to take a backwards step from the music. A CD that everyone should listen to at least once, and one I’m going to be actively recommending to people who ask me about my current favourite music.  Links to the side will let you buy this EP from iTunes or Amazon, but failing that, download Spotify and do your best, really, it’s worth your effort.

I’m pleased to inform you all that ‘Free’ is a roaring success and will meet the expectations of exisiting fans whilst undoubtedly gaining them new fans Now you know it’s good sit back and let me explain why it’s so good.

The delights begin instantly with album opener ‘Edit Me’ which has an intro like a siren, almost like it is alerting you to the fact that this album going to kick your ass and that you need to sit back and enjoy a  wholesome slice of rock music. If the opener doesn’t attract you then the following juggernauts of ‘Time For You To Stand Up’ and ‘Apocalyptic Renegade’ most certainly will. With its barrage of melodic shots  it a breathless 9 minutes of music which gets cooled off with the much more toned down ‘Yes I Was Drunk’

The best part about ‘Free’ is for the most part it feels like a follow on and upgrade of their previous EP’s instead of a complete switch which can happen with bands on occasion. A shame because it more often than not strips the band of what made people interested in the first place. Luckily though this is not the case here. There was some talk of Sam McTrusty vocals being more Americana but I disagree and think his vocals still contain the same Scottish bite at the forefront of the songs, while ‘Barry McKenna’ shows himself to be one of the most talented guitarists out there. The mad guitar sounds he pushed through on ‘Vivarium’ isn’t here but his all round guitar work along with Mr Mctrusty vocals give virtually every song an unmistakable unique identity.

I say virtually because at 13 tracks ‘Free’ only problem is it has too many tracks. The quality on offer doesn’t run through  the entire album, the middle portion whilst being solid doesn’t offer anything too memorable. The title track is a little lacking and has radio friendly written all over it but sadly is missing the key elements that the majority of ‘Free’ possesses, basically it’s not a good advert for the quality of the album as a whole while ‘Make A Beast Of Myself’ should be a impressive b-side.

The closing tracks confirm the importance of having this album in your collection with the immensely surprisingly instrumental ‘Serious Underground Dance Vibes’ will delight your senses and is best heard with the volume turned down low.

In many recent interviews TA have said that they learn from every band they tour with. If this album is a result of that then I think their peers should be taking notes from TA. The effort put into ‘Free’ is clinical without taking away too much of the rawness that the band  have built their music on.

Well done boys impact made and expectations met!

Rating: 8 out of 10 stars

1. ‘Edit Me’
2. ‘Time For You To Stand Up’
3. ‘Apocalyptic Renegade’
4. ‘Yes, I Was Drunk’
5. ‘Dreamember’
6. ‘Free’
7. ‘Crash Land’
8. ‘Make A Beast Of Myself’
9. ‘The Ghost Of Eddie’
10. ‘Serious Underground Dance Vibes’
11. ‘Eight Days’
12. ‘Wonder Sleeps Here’
13. ‘We Want Better, Man

Songs to try before you buy: ‘Edit Me’ ‘Dreamember’ ‘The Ghost Of Eddie’ ‘Serious Underground Dance Vibes’

Song To Avoid: ‘Make A Beast Of Myself’

After a moody piano intro makes us believe where getting a possible upgrade in quality up pops ‘The Promise’ which shows us that where getting much of the same that FH debut did. Credit will be given in the form that musically they have improved. However FH major flaws on their debut was a lack of a memorable song and here the curse continues. As I said the instrumental side of the band has improved and inst so much in the background anymore. Unfortunately any change of any song leaving it’s mark is crushed by lead singer ‘Kenneth Nixon’ who’s woeful, generic lyrics and ability to stay at the same vocal tone throughout the entire album whether he’s singing the verse or the chorus brings the album down. Once again it’s a frustrating album from beginning to end with lacklustre song after another that most people will give one spin and proberly never listen to again because it gives you little to no reason to warrant repeat sessions.

Unfortunately FH are riding the coattails of a cover version of a rap song and still have not forged a sound of their own that warrants attention on any level by any well seasoned music lover.

1. Intro
2. The Promise
3. Wake Up
4. Bittersweet Sundown
5. WarZone
6. You Stupid Girl
7. Weight of the World
8. Fool with Dreams
9. Back to Go Again
10. Playing with Fire
11. Palace of Words
12. Photographs & Gasoline
13. The Burn

Song To Try Before You Buy: The Promise, Photographs & Gasoline, The Burn

Song To Avoid: Wake Up

I instantly start to work my way through the bands catalogue, starting at the top with ‘Michael’ the song, although not the finished article shows what they mean when they quote the word ‘endearing’ always a dangerous word, I instantly felt myself inside the song, watching the figurative  Michael with whatever struggles he’s going through, and feeling thoroughly moved by the chilling vocals produced to fit well with the sound.

I moved on to ‘Time ticks by’ a completely different sound, although equally pleasing, much more upbeat, brilliantly tight instrumentals, belying the fact that this band has been together less than a full 12 months. Not the stand out track available, but worth a listen if you want to work your way through this bands sound to better understand them.

Third track available on their myspace is ‘Just a stranger’ again another different sound, not as tight as the first two, and perhaps of any of the tracks available I’d skip if it was on an album, this would be it, but that might be more of a reflection on the next song.

‘Dover’ the next song, the song picked up by NME, and in my opinion, the song that could help this band make it, catchy from start to finish, and the one track that I left their myspace downloading and putting onto my iPod. Perfectly showcases the band and shows off the great vocal talents as well as all the other things they do well.

‘Souper hero’ is next up, and is again catching your attention, very good drums and vocals, in fact, good all round track.

To be honest, this is the first time I’ve taken it upon myself to review a band, and also the first time I’ve reviewed an unsigned band, I’m not sure whether I may be judging them by a different yard stick as I do others, but for an unsigned band less than a year into their collective career, these tracks stood out to me, they wouldn’t be out of place on any of the CD’s in their genre we get sent to us by various recording artists, and I feel this band clearly have what it takes given the right break and hard work.

Standout Tracks – Winter Kiss, Beneath the Waves
For fans of – Enter Shikari, Biffy Clyro

For an outfit whose Music has largely been considered secondary in favour of the colossal cock-ups frontman Scott Weiland’s substance assisted headlines have garnered, it must be refreshing to support a release that is relatively drama-free. Despite a very public implosion with Slash’s metal supergroup Velvet Revolver, Weiland’s return to STP has reportedly been met with an unprecedented ease. A spin of the group’s sixth studio album certainly plays like a feel good rock band who have effortlessly produced a classic retro effort meaty in riffs and lacking in tiffs. But are these really the seeds of a second chance for the weathered, feathered four-piece or has Weiland simply returned to the comfort of his meat and potatoes day job readying himself for the next inevitable drug-fuelled derailment?

‘Stone Temple Pilots’ certainly starts promisingly enough, kicking off with recent Rock radio chart topper ‘Between the Lines’, a sharp slab of seventies inspired sunshine. Upbeat and fresh, energized and invigorated, ‘Between the Lines’ introduces a focused, harmonised band who appear to have learnt from their problematic past. ‘Take a Load Off’ continues the throwback thrash splintering into shades of Aerosmith when they still had a message worth screaming about before ‘Huckleberry Crumble’ shines the spotlight on a crunching AC/DC-esque ode to sex at American truck stops. For a twelve track set that climaxes at the forty one minute mark, no snippet outstays it’s welcome preferring to celebrate the sentiment of being here for a good time, not a long time, with the running order perfectly accommodating the laid back, seventies vibe that clearly serves as it’s inspiration. Weiland, a songwriter who has always worn his influences on his skintight paisley sleeve, continues to conjure up the spirit of his hero David Bowie on ‘First Kiss on Mars’ but it’s the powerfully gyrating guitar work of Dean DeLeo that truly steals the show. Leading every number through textured noodling and sexually charged licks, the six stringer dominates the direction of each cut with an understated skill and matured musicality.

One criticism that may be flung forwards is that whilst this sounds like a faithful arena rock record that could easily share shelf spacer with an early seventies Zeppelin offering, it doesn’t really sound like a classic Stone Temple Pilot’s album. Far too much emphasis has been put on influence stifling the group’s originality and deleting important traces of the band’s previously trademark template. Still, when choruses soar as loud and proud as ‘Fast as I Can’ there appears to be very little to complain about.

Sleazy, inspired and anthemic, don’t call this a comeback they sound like they’ve been here for years. Catch ‘em at Download, you will not be disappointed.

At the height of the swinging sixties, a sixteen year old schoolboy named Frank Abagnale Jr would fraudulently tear his way through the United States posing as, amongst other things, an Airline Pilot, Pediatrician and General Attorney cashing an estimated $2.5 million in forged cheques before his eventual arrest in 1969. The reason for Abagnale’s impostering was to escape the escalating domestic disputes brought on by his parent’s bitter divorce. Fast forward nearly thirty five years to 2003 and an aspiring hip hop enthusiast from Dundee called Gavin Bain. Bain would try his hand at rap stardom within his local community only to be mocked for spitting Scottish-tinged rhymes before being cruelly written-off as a ‘pimpin’ Proclaimer’. Not to be deterred, the determined MC formed an urban duo entitled ‘Silibil ‘n’ Brains’ and decided the only way they would be taken seriously was by pretending to be a couple of college drop-out crunkers from the West Coast. A plan was soon concocted with the agreement to employ faux American accents whilst claiming they were close friends of mainstream heavyweights such as Eminem and D12. As their scheme caught fire, the two twenty-something tricksters somehow found themselves inking a record deal with Sony following thrilling performances throughout the UK and became the centre of Britain’s underground freestyle scene. This upturn in fortune would lead to appearances on MTV and parties with Madonna racking up over £200,000 expenses in the process. Eventually, the constant pressure of hoodwinking an entire industry would destroy the daring duo, imploding their friendship and causing a downward spiral that would conclude with a penniless Bain twice attempting suicide. It would appear though that sometimes crime DOES pay, as with Abignale, who had his prison sentence considerably slashed to help the FBI catch credit card crooks, Bain’s story has been chronicled in a new book titled ‘California Schemin’ that has already been picked up by Irvine Welsh for a silver screen adaptation. The other constant in Bain’s remarkable rebirth is his new band Hopeless Heroic, a ferocious five-piece that he hopes will restore his reputation as a credible recording artist.

Swapping the rap for rock, ‘Mechanical Lions’ re-introduces a focused Bain who has embraced numerous diverse elements and incorporated these influences into his previously limited template. ‘Guinea Pig Syndrome’ and ‘You Got What You Deserved’ offer driving rhythms offset against dribbling riffery indicating the highest of hopes for the quintet’s upcoming full length effort. ‘Blindly Apparent’ boasts the most distinctive blueprint of Bain’s ‘trick’ hop past and ‘Biting Nails and Watching Clocks’ succeeds through a flourish of dramatic violin assisted violence. Rather disturbingly, Bain’s vocal delivery still appears to be deeply rooted in Americana, mimicking the ever popular emo range and at times falling into Tyson Ritter territory, perhaps commanding validation for his motives of fronting an alternative Rock band. That said, this born again barricuda has quite possibly orchestrated the last great Rock n’ Roll swindle in drumming up any form of intrigue in the first instance.