For Every Day a Memory
For Every Day a Memory is available from:
Time & Again– 9.5/10
Flick ‘Em the V’s– 9.4
Pipe Dream– 9.2
Lead the Way– 9.3
Forget Never Met– 9.3
Back Home– 9.2
It Can’t Be Me– 9.3
Gotta Get Out– 9.3
Feel About You– 9.4
Take Me Back– 9.5
Sitting on My Own– 9.1
Valentine’s Day– 9.4
The Fortune Teller– 9.3
Something to Believe In– 9.5
Falling Down– 9.4
Take Me Back
Time & Again, Flick ‘Em The V’s, Take Me Back, Valentine’s Day, Something to Believe In.
16th March, 2013
℗ 2013 The 48ks
Rock, Indie, Blues-Rock
Having had the (former leader of Orange Juice) praise their album (For Every Day a Memory), Doncaster’s The 48K’s are winning legions of impassioned fans. With a new E.P. looming, it is high time you investigate the Indie-Rock princes: they are a band with clear potential. Not allowing their music to become bogged in a predictable quicksand, the next few years will be very prosperous.
QUITE a task lies ahead of my today…
Faced with a 15-track album, my featured band are certainly going to get a long review- hope they don’t mind. I shall get to all of that business in due course. Usually at this point in the review, I bring up a couple of different themes: today I am thinking about bands and Indie– once more. Being enamoured of- and familiar with- groups such as The Bedroom Hour and Crystal Seagulls- two London-based up-and-comers- the genre is producing some magnificent and diverse acts. In my last assessment- of Ska band Broken 3 Ways- I was offered a wealth and treasure trove of new sounds and sensations- examining music that was quite unfamiliar and strange to me. I love past (Ska and Punk-Ska) masters of old, yet have not heard too many new examples- the seven-piece Wirral group left me quite dumbfounded. The best thing about music is split into two considerations: the quality of the sounds on offer; the quality of the personalities on offer. Solo acts give plenty of brilliance and seduction; it is bands that are still most popular among the general public. Perhaps down to the sheer range of music available- or some other consideration- you cannot deny how important that sector of the market is- bands produce some of the finest music the world has seen. At the moment, there are a great number of different groups; all doing something a little different, there is a huge choice for the consumer- meaning the pressure is really on new acts. It is all very well putting music together- forming your act- and going out into the ether: a hell of a lot needs to be considered before you go out there. It is not the 1940s any more: we do not live in a time when there are few acts and choices (of music) to witness- our music scene is growing and expanding at an exhausting rate. One of the most lamentable aspects of music is how many mediocre and limited artists are out there- so many newcomers have no sense of adventure, ambition or quality. The hard truth is: if you can’t provide a certain degree of excellence you will be buried and forgotten about- those that are most noble and insightful will win the day. With that in mind, we must embrace and herald these acts- artists that take leaps and have that quality deserve reward and patronage. This year, I have been lucky enough to see a host of wonderful and different bands poke into new music: many are still in my head now; few have made their way out. My featured act fit into a point I am going to make: the people behind the music. In a social media age, relations and friendships are becoming more detached and impersonal- most of us are satisfied to connect with people via a computer- rather than get out there in the environment. One of my biggest regrets- when reviewing music- is how little some musicians appreciate the work- spending time on a review, a lot of times they (the musician) do not get in touch- just ignore what is put out there. There seems to be a correlation forming: the artists who love music the most; when it means that much to them- they are the ones that are most appreciative of attention and focus. I shall not name-and-shame (one day I will), but The 48K’s adore music and the way it translates to the people: from their music, you just know that this is something that is a calling- nothing else will do. Bands like this as those we should be putting in the spotlight- ensuring their ambitions and dreams are fulfilled and realised. Before I get to my second point, let me introduce the guys to you:
“After several years of refining their sound and presence on their local music scene, they settled a permanent lineup and set their sights on the horizon. We are here to entertain and hope you’ll enjoy our music. We are not looking to sell out to the highest bidder and want to keep the spirit of good, catchy music alive. We hope you do too… The 48K’s is a result of shared musical influences drawing people together. Quickly drawing a following in the Doncaster area, they are set to expand and explore the surrounding regions throughout 2013.”
Being based out of Doncaster, it sees me back in Yorkshire: I swore I’d distance myself from the county- having reviewed most acts that play here- yet it seems like an alluring and hypnotic seductress- you cannot help but to keep coming back and experiencing the joy. Whereas a lot of fellow Yorkshire acts- mainly based around Leeds and Bradford- play Pop, Soul and Electro.; here is an Indie (and Indie-Rock) band- most commonly found in other parts of the country. I know Yorkshire has a fair few bands, yet most of my attention- when it comes to the genre- has been directed towards the capital- bringing me to my point. Indie and Rock are styles of music that have a huge amount of representation- there is such mobility and potential in the genres that bands are attracted by its gleam and openness. So many artists come up a little short: too concerned with being involved with music, they negate the important of honing their sounds and providing something different. As much as I love Indie and the wonders it provides- if you want to succeed- you have to go that step further: distinguish your sounds from that of every other act out there. From The Bedroom Hour’s Hinterland through to Canada’s The Dirty Nil, plenty of diverse representatives have come into my sights- each time I was left feeling hugely satisfied and inspired. Indie and Indie-Rock provides a sense of drama and epic proportions; it can be tender and calming; uplifting and motivational; foot-tapping and catchy- it is a form of music that is as flexible and promising as any others out there. It is not surprising- for these reasons- many acts want to join in- The 48K’s are among the most promising and fascinating proponents of the moment. Having recently won praise from legendary stalwart Edwyn Collins- he praised the lads’ album- the boys are rightfully proud. For Every Day a Memory is a packed and scintillating album- or several E.P.s put together (as the band may profess)- that is a wonderful collection. Few new bands- or acts that have been playing for a couple of years- do not put out something so strong so soon- not a 15-track collection anyway. I will investigate the tracks later, but will finish with one point: quality control. So many albums and E.P.s- in the mainstream and new music- have too many filler tracks; there is a certain lack of consistency- it takes the momentum and pace right out of a record. The 48K’s have not merely stuffed every song (they have recorded) into one album in the hope that quantity equates to quality. They have been a lot more shrewd and intelligent: the five-piece incorporated quality alongside quantity. It is not surprising that the album- which was released last year- is still affecting hearts and minds- as the likes of Mr. Collins have ascribed; it is a record you need in your life.
For a comprehensive impression of the band, it is pertinent to look back at their beginnings. Some reviewers have displayed some obstinacy when it comes to Indie- keen to assume all bands are going to sound the same and not make a big impression. At the moment, the band are producing new material; For Every Day a Memory was their last full work- before then, the bands dabbled with a couple of songs. Happy Christmas Day has hard-edged and ragged guitar riffs; chugging and determined, it is no mere novelty toss-off. In spite of the lyrics (containing some twee and traditional messages)- Rudolph and sleighs; Santa making it in time etc.- the sheer delivery and pace turned it into something less predictable. A lot of bands try Christmas numbers- most are an unmitigated catastrophe- so it is brave of The 48K’s to attempt it- at least it shows a different side to the guys. Instilled with Pop upbeat and raw and rushing compositions, it was one of the first signs of what they could acheive- displaying the hallmarks that would be cemented in their L.P. Other tracks such as Trophy Wife contained much pizzazz and edge: perhaps their most solid early work, it was a forerunner to For Every Day a Memory. Possessed of plenty of drive and grit, it has a true Indie edge to it- there is a naturalness and sense of authority coming through in the song. A few early songs gave the impression of a confident band determined to succeed; the signs were there and the guys certainly showed what they were made of. It is the here and now- or last year- that is the best indication of The 48K’s (and their true potential). Most Indie and Rock bands tend to stick with a restricted and defined sound: they have focus but do not incorporate too much range and shock into their sounds. The 48K’s released a four-track E.P. in 2010: most of the songs appear on their album; Cotton Wool is the only track that does not feature. That particular song had a vibe of Arctic Monkeys to it: the riffs are insatiable and punchy from start to finish. Packed with grit and energy, it is a conficdent number but not perhaps their finest song. Since the E.P., the band have shown how much stronger they are: quality control is at the forefront and the band ensure that all of their songs are assured and strong. Whilst their fledgling days put them ahead of most of their competition, the movements they made after (the debut E.P.) shows a clear development and progression. Stepping aside from obvious sonorousness of many Indie staples- Arctics included- more positives and Pop edge came into their set. The riffs are fuller and more interesting; little details and stunning chord changes give their songs a great sense of passion and intrigue: the band have opened up their ambitions and broken through barriers. Too many modern acts are rigid and poverty-stricken when it comes to interchangeable regards: they are key to play it safe and ensure that discipline and strict rigour defines their sounds. If you work within the Indie and Rock confines; allow some mobility and movement, then you have greater potential for creativity and originality. The material that comes through in For Every Day a Memory shows a unique and individual voice. Most bands you can ascribe to others; hear where they came from- know exactly who inspired them. Whilst I will be mentioning some other names (below); the unerring sensation is of a distinct act. The vocals are particularly stand-out and incomparable. There are few strains of other artists; the tones that pour forth; the phrasing and delivery is tailored to the band- you would struggle to find another act that sounds just like them.
If you are looking for anyone like-minded, then I can probably point you in some directions. Most of the comparisons revolve around the sound (and compositions) as opposed to the vocals. When tracks display a youthful and energised rush, you can catch touches of The Libertines. The band’s Up the Bracket (debut) was stuffed with sweat-filled jams; spiraling and scenic stories of street life and the modern day- tied around compositions that compelled you to sing along. The 48K’s rustle up a similar potency and wonderful racket. Their guitar lines are sleeker and less rampaging, yet the band put me in mind of the early days of The Libertines. Determination and gravelled heartbeats pop in The 48K’s work: you imagine young and sprightly chaps gadding about town; a cocky swagger in their step, they have no fear or need to feel second-best- there is a truth and honesty to be heard. When the band’s songs get gritty and raw, the likes of Queens of the Stone Age and Kasabian enter my thoughts. Q.O.T.S.A. are Desert-Rock geniuses: their primal and captivating swing is still seducing and alarm fans (so many years after their inception). The Doncaster boys have a great ear for that type of sound: they can elicit a comparable force and manly punch. Queens’ are exceptional at mutating their sound and changing course (with barely a breath); making sure that their songs remain alert and surprising. The 48K’s ensure that their songs do not rest or refrain- every song has a determined drive that keeps you arrested and on the edge of your seat. The way Q.O.T.S.A. employ so many different guitar shades comes through in For Every Day a Memory. Homme is a master of diversity and phenomenal fret work. Every album and song from the band (Queens’) contains glimpses of the passion and energy that has made the band legendary- they ensure all of their music is filled with layers and heart. The 48K’s have displayed an adeptness that means that can mingle sounds of the desert together with barbed wire guitar work: shifting from darker and shadowed number to catchier rushes, that pioneering ambition and spirit can be applied to the Doncaster quintet. Kasabian are a band that have grown and improved with age. Their current offering perhaps marks a peak: imbued with epics and stadium-sized riot, 48:13 is a stunning album. The 48K’s make sure they do not succumb to boredom or aimless wandering- like so many of their peers- and have plenty of stadium-themed numbers; pumped-up and rampant fun spars with lariness and excitement- in addition to some great social commentary. Whereas Kasabian are not noted for their lyrical nous, The 48K’s have a better ear for dialogue: their songs are sharper and more compelling- perhaps not up to Alex Turner’s standards but pretty impressive none-the-less. The Doncaster troupe mix Kasabian-esque frivolity and catchiness with a terrific sense of story and surprise- making me think of Arctic Monkeys. It may sound like an obvious comparison- how many Indie bands aren’t compared to them?- but not in the way you think. The vocals and compositions stray from the Sheffield boys’ mould: the comparable take-away is the songs; the narratives and witness is there. The 48K’s are skillful and confident when dressing-down dishonest and unfaithful loves; spiking and masterful when bringing in strange characters and street scenes- that rounded and quotable ability stands their songs out; giving inspiration to fellow songwriters. ’60s and ’70s icons come to mind when thinking of the band. Some of For Every Day a Memory‘s more primal and hypnotising numbers put me in mind of Led Zeppelin. Our boys are capable of offering powering and divine riffs; pummeling and intense percussion- full-blooded and heavy vocals. When the quintet’s mind turns towards pointing the finger (and casting blame and aspersion), that same passion- that Zeppelin pioneered- comes to the fore: maybe not on the same chest-beating level as the legends, our boys put on a hell of a show- mixing Blues touches of the ’30s and ’40s with a dramatic and lustful soul. When witnessing the band’s catchy melodies and sense of fun, it is hard not to think of The Beatles. If you listen to the band’s The Beatles-era work; the sound that rings through that (double) album is infectious and endlessly fascinating. The 48K’s have a Beatle-esque sound in their music: Beat Invasion ’60s vibes mix with a sense of free spirit and head-nodding sing-along. When the vocals are doubled and augmented (by the band), you can almost picture the Liverpudlian four-piece- Gotta Get Out is probably the best example of this. The last two examples I will draw in are U.S. Blues-Rock bands: The White Stripes and The Black Keys. When surveying For Every Day a Memory, I catch glimmers of The White Stripes’ debut album: the guitar sound is quite similar; that D.I.Y. and chugging momentum; the banging and grand riffs- it definitely has a touch of the Detroit duo’s late-’90s output. The way Jack White mixes Blues, Metal, Punk and Alternative can be compared with The 48K’s. A lot of bands do not fuse that many sounds together; our boys draw in multiple sounds and flavours into their songs- bolster its weight with methodical and considered incorporation. Jack White’s (current) solo work has clout and plenty of personal insight. He talks of separation and dishonest women: The 48K’s skillfully pen tales of tangled love and the need for freedom and contemplation- without coming across as chauvinist or arrogant. Moulded into compositions which spin Blues riot into a centrifuge of modern-day urgency, the Doncaster lads seamlessly blend these strands together. When listening to Turn Blue (by The Black Keys), you cannot help but to be amazed by the depth and nuance of the material. Essentially a ‘break-up album’, it has plenty of recrimination and anger within. The 48K’s do never let their sentiments turn to bitterness: like the Ohio duo, the lads are skillful potrayers of fragmented love and ill-fated relations. It is perhaps the overall sound that has my mind racing (to compare the two). Joining Blues wail with spellbinding and contrasting jams, The Black Keys’ latest album is a work that grows and grow- its charms are revealed after multiple listens. The 48K’s have a similar quality: a lot of their songs are instant and direct; others stake their claim across repeated spins. Uniting Stripes-esque Blues rawness with a more defined and rounded Black Keys sound, their (The 48K’s) songs conjoin tenderness and reflection with bitter sparks and overt outpouring; colourful and striking sounds; repeatable and kick-your-feet jams- projected in their own distinct voice. If any of these bands and acts capture your attention, then you will find a lot to recommend within For Every Day a Memory. Whilst being unique and ambitious, the quintet have embers of some of the greats- both old and new- which will appeal to new converts and the undecided voters alike.
Kicking off the album is Time & Again. With a tumbling and Blues-tinged riff- that marries The Black Keys with the Fratellis- it is an energised and intense beginning. Designed to get the body moving, the catchy and intent opening salvo. has plenty of passion and punch to it. When our frontman comes to the mic., his words are upbeat and redemptive. His girl may be doubtful or in a down-turned mood- in order to rectify this, our man wants to “show you everything I’ve seen“; turn her frown upside down. The energised and persistent swagger of the composition gets the song directly into your brain. As the scenes and requests pour forth, it seems that maybe his sweetheart is holding him back. Perhaps too demanding and righteous, our frontman is sacrificing a lot for her- he goes on to say that she is cramping his style. Desirous of some freedom and breathing space, the chorus acts as an exorcism- backed on vocals, the addictive repetition (of the song’s title) enforces the sense of suffocation. Ensuring that the bonhomie never slips, the boisterous delivery keeps things compelling and upbeat. His girl is trying to please (perhaps)- “Seven out of ten for your effort there“- you wonder what it is that is being scored- perhaps just being her is not quite enough. Claiming that he is not the fairest judge, you sense that his love is not putting her best foot forward. As the song progresses- and our hero asks to be driven to a local bar- half of your mind asks whether a friend is being assessed- perhaps a ligger or hanger-on (that is a bit too needy and nerdy). In the banged-up car, you sense disharmony and fractured relations: our frontman’s delivery (displaying the passion and determination of early-career Oasis) makes every word sound urgent as hell. A rousing opening coda, the song reveals multiple layers. After the two-thirds mark, a brief- but squalling- coda riff adds electricity and passion into the mix; ensuring a slight deviation, it shows the band’s talent for surprise- injecting a much-needed display of fretwork. Anthemic and insatiable, our hero strikes about a determined composition: heading out for the night, his confidence is shot; his anonymous subject is once more cramping his style- you feel that explosion is imminent. Never dropping its momentum or sense of infectiousness, it is a brilliant kick-off track. Instilled with attitude, Flick ‘Em The V’s starts with a pummeling and spiraling intro.- the guitars weave and wail; the percussion clatters and chatters- Indie and Garage-Rock of today mixes with ’90s U.S. Blues- to create an exhilarating sound. Stating “If you don’t lose then you can’t win“, the song’s subject beat the rest; putting the effort in, our frontman wants to buy him a beer- the ambitious hero has come through some trial and is deserving of his libation. Climbing ladders and skipping rope, there is ambiguity afoot: whether referring to an ambitious career-climbing friend- or literally assessing physical activity- you get the feeling that here is an ambitious and driven person- their zeal may well see them fall down a slippery slope. Whether an athletic superhero or kick-ass business brain, the hero needs to stick two fingers up- he has climbed high and is not letting anyone take him down. Once more presenting a captivating composition, you are fully entranced in the song: with our hero guffawing and living life at full chat, it is a rally cry for the boys. As the song progresses, light is shed- we are dealing with events in the athletic realm. Having reached the final, our hero has the chance to make the bookies cry- he is an odd-on favourite. By the last clattering and conclusive notes- marrying bolstered riffs with percussive smash- vivid images swim into mind- the hero would have won the race; flipped the v-sign (probably going for a beer afterwards). Less spiky and hard-edged- more open and melodious- Pipe Dream sees the band step more into Indie territory– and slightly away from Blues. To document our frontman’s realities: he lives his life in “turquoise skies’; daydreaming and hopelessly ambitious, there is restlessness to the vocal delivery- you can sense that he wants more out of life. Growing old before his time, you can hear the cracks on his face: that premature maturity is subjugating and confining his potential- backed on vocals, the song sees his comrades support his plight. More Pop-infused than previous numbers, the band showcase their talent for range and mood: there is a great mix of hopeful and resigned; insightful and vague- so many different strands and threads work away in the track. Fear comes creeping in; the years are seeping away- our frontman is going to “make it better.” Speaking to his love- or perhaps a treasured friend- he has salvation: the person can make the sun shine; provide comfort and safety- inspire our man to get what he wants out of life. With melodious charm and smile, there is a feel of ’60s Pop: it is the band’s most overtly positive and redemptive song- it leaves you with a nice little grin on your face. Starting with a boisterous riff- mingling Status Quo’s Down Down with modern-day Arctic Monkeys- Lead the Way certainly has early potential. The intro. snakes and develops; grows in pace and energy- nicely leading into the vocal. Looking at his subject, our frontman sees them close their eyes and drift away- sun beating on their face, you speculate as to what is being documented. It seems like a friend is in trouble perhaps; not overly fraught- but prone to moments of vulnerability- our frontman offers a supportive shoulder- if they need him at any time, they know what to do. Once more showing their tender side- following the album’s opening grit and accusations- it is a comforting and warm song- with ample stir and fascination. Twists and turns are on every street; our (wise) frontman has seen what dangers lie ahead- backed by his band again, the multiple vocals ensure the track is inspiring and anthemic throughout. Designed to inspire legions of fans- to get up and chant along- its heart and sense of care never subsides. Most bands may come off as saccharine or cloying- when detailing similar themes- yet The 48K’s pack suitable conviction and invigoration into the song- the guitars stand out here; periodically providing some curdling and roaring pride. Perfect for the summer days: window wound down and the open road in front, it leaves the listener with a lot to reflect upon. Back in meatier territory, Forget Never Met rocks up with its cool swagger; Blues-tinged leather jacket; wind in its hair, it is a suitably bad-ass beginning- you just know the song is going to have some pertinent messages forthcoming. Discontent and let down, our frontman is reading bad news- whether talking about the media (or something on social media), he is resigned and anxious- savouring the moments he actually feels alright. Perhaps betrayed and double-crossed by (loyal) friends, there is one thing for it: head into the night to find someone “I’ve never met“- perhaps random strangers and strangeness will be more loyal. Backed by a kicking and Blues-Rock undertone (a bit like a slowed-down version of The White Stripes’ Instinct Blues), our frontman has someone in mind- they cannot forget them; perhaps they are inspiring his current state. With the anonymous and undefined stranger in mind, it acts as a metaphor for a state of mind: events have caused quite a lot of distress and annoyance; hitting the road to destinations unknown, confusion and anger seem to inflict our frontman’s mind. Not able to picture his subject’s face, a myriad of thoughts and contradictions flood in: the song causes so many visions and possibilities to pour forth, you wonder what the true meaning is- it keeps things intriguing and open for interpretation. Marked by a restless and winning vocal (from our frontman and backing); a cool-edged composition and a sense of hope, Forget Never Met is a perfect way to close the album’s first third. Back Home is next, and begins with jiving, stuttering and weaving guitar riffs; cool and slinky, ducking and diving, it definitely has intent and purpose on it mind. With a lighter and more passional vocal, our lead is in a car park by the underground: trying to find his way home, there is a sense of dislocation and loss- the song wins you over with its striking scenes and sense of story. Having progressed to the pub- four friends in tow- a lack of sobriety results in them missing the last bus: the capers continue and homely destinations are a distant proposition. Rooting for our man, a cat-and-mouse game unfolds: he is thwarted at every possible juncture- a drunken version of Dorothy in The Wizard of Oz it seems. Joyful, carefree and swaying, the song has a cheeky and loveable charm- mixing rousing “Come on come on come on“s, ’90s Indie/Rock, ’60s Pop and modern-day Indie spiral together. Not too over-sung or over-performed, the song has just the right balance of projection and mood: meaning you are invested in it until the final moments- our man no closer to reaching his front door. A likeable wander, you just hope that he made it back safely- or spent the night on a park bench somewhere. With the percussion giving It Can’t Be Me a suitably punched and pronounced heartbeat- a weaving and delirious intro. gets things off to a flyer. The song looks at our frontman and his identity: a shadow of himself, his reflection is scaring him to death. Whether disappointed by the image that comes to mind- or acting out of character- there is definite anxiety to be found- jumping at shadows and noises, something has rattled his brain. The percussion is particularly impressive: driving things forward, it layers on the sense of discontent and defragmentation- kudos here indeed. Taking a while to return to planet Earth; grappling with common sense, time seems to be slipping away- I was wondering whether a certain event had triggered this thought process. Before my mind imagines, a psychedelic and wigged-out guitar riff seduces and intoxicates- leading to a springing and itinerant bass line, the composition shifts and mutates brilliantly. Perhaps weighed down by a relationship; under the cosh of a stressful life, our frontman wants to be left alone- leave the heel-steppers alone and try to rediscover his former (better) self. Once more instilled with sing along potential, events are not too repressed and foreboding- the band ensure that you sympathise with the plight (rather than overlook it). Escape and release define Gotta Get Out: beginning with a calmed and measured intro. the pressure and pace start to build- notching up the degree of fascination and speculation. Able to do and say what he pleases; be where he wants to be, our frontman can do this because he is alone- perhaps his sweetheart is an anchor he needs to cast off. With a Beatle-esque composition, you get caught up in the swing and charm of the music- whilst focusing on the recriminations of the foreground. With his other half pusillanimous and circumscribed, our man heads out on his own- you cannot change the future; he sure as shoot can achieve it on his own terms. The chorus is an impassioned and chanted mantra: defining the song’s terms, a clear sense of emancipation comes in- having lived an undesirable life for too long, now is the chance to shine. No longer emasculated or under the thumb, perhaps things are turning the corner- as the song progresses you wonder whether it is a relationship (being focused on) or perhaps a suffocating associate- when our frontman says “Gonna take you all on my own” it makes me doubt my convictions. The song has the power to make you question and second-guess. By the final notes, I assessed my assuredness and still stuck with my guns- instilled my theories with some new shades and insights. Youthful passion and intention starts Feel About You– signs of Up the Bracket Libertines came to my mind. With the guitar sharper, punctuated and more atmospheric; the song makes you sway and nod- possessed of a cheeky charm. Our hero wants his subject- I was thinking it was his lover- to tell him her secrets: open up tonight and let honesty and truth come out. Enraptured in a true sense of love, nothing will change the feelings (he has about his girl): whatever skeletons or ghosts haunt the closet, they will not make a difference- here is a solid and defined relationship too strong to suffer easy cracks. The song drives and never relents; the cheer and sheer energy keeps on going: that delirious and indefatigable kick grips you right the way along. Telling his beau to “Forget situations“; overlook diminutive impurities and indiscretions; forsake every little cosmetic blemish- it would take something monumental to phase our unflappable hero. Few Indie bands have such a openness and romantic positivity: it makes the song a strange (but pleasurable) aberration- an apparition that should scare bands into writing similar tracks. Notable for its tender and earnest vocal, the track is augmented by a band performance that is tight and perfectly in-step: the guys commingle with true sympatico and intuition; making the song focused and relentless. Take Me Back starts with a primal and lurching crawl; displaying some crepuscular Pixies menace, the intro. here is among the most intriguing on the set. Opening itself up- for a brief moment- the parable is brief but memorable. Our frontman wants to come back home. His voice filled with spiked venom; grit and masculine gravel, the direct and urgent delivery is hypnotic- the delivery has a catchy and insatiable projection- words are repeated and overlapped. Backing vocals encroach and echo- which sees the chorus put right up front- which quite an unusual and impressive consideration. Our man dreams of waking up- when sleeping- and getting away: he is being forgiven by a person he is not familiar with- perhaps a drunken night has seen him bed a regretful conquest? Unsure how it got this far, the morning light is illustrative and harsh: the mannish and laddish swagger of the song makes sure little sympathy is provided to the heroine. Taking a walk back home, a twinkle is in the eye: negotiating and perambulating the dark streets, his spirits and senses are back at their most heightened. Kasabian, The White Stripes and Led Zeppelin mix with Arctic Monkeys in a sense: the former camp is represented by impassioned Blues, rousing choruses and masculine energy; the latter by that distinct northern Indie sound- tied to lyrics that have one eye on the streets and one in the bedroom. The enticing mixture of flavours ensures that the track lodges into your mind- I am sure that it is a firm live favourite. Crunching and dizzying riffs join with pummeling and scattershot percussive rolls; propulsive and forceful bass notes mean that there is no leniency or intrancegency- it is a track that demands your full attention. As we start to approach the end, Sitting on My Own comes to play. Acoustic notes begin the track- subverting expectation and circumventing your predictions- to give the album a new twist and layer: not prominent up until this point, it acts as a pleasing ballast- the intro. has a tight energy, yet is romantic and tender. It is not too long before spiraled and elliptical electronics overtake proceedings- upping the ante, the track’s intro. is a fascinating little nugget. I was intrigued by early words. Our hero is speaking to his subject: unwilling to get their feet wet, the heat has arrived. It seems that the heroine has timidity in her soul: our frontman is sitting on his own and wants to find a more adventurous and daring partner- someone who can take a leap and make their voice heard. Perhaps not instilled with the same conviction and passion of previous tracks, it is a pleasing and pleasant track- one that does not suffer by being low down the tracklisting. The composition has a traditional Indie feel that will draw in some eager ears- its loyal and authoritative beating heart is its most impressive facet. Not giving his sweetheart a moment for rebuttal, he is inflamed: she wants apology and some compromise; whatever has unfolded, an apology is not going to happen- there is a distance between them. Providing a cold shoulder- on a hot day- it is time to see “just how much you mean to me.” As his girl sits on her own- waiting for someone to call- you are left wondering whether reconciliation and reappraisal will be forthcoming- perhaps too much damage has been done. By the end, it seems that a middle-ground has been achieved: détente and emotional tontine has led to some (albeit vague) mutuality. A stomping and hell-yeah punch opens up Valentine’s Day– it is a coda you want extended and elongated- the band tease with its succinct and brief charm. The song’s core falls in love too easily; our frontman seems to have seen this all before: the heroine is decked in resplendent garments; quite eye-catching and alluring, her man is sweeping her off her feet- you sense that the infatuation will be brief and predictable. Familiar with the route of events, she “wouldn’t have it any other way.” Perhaps a teachable moment is needed: sitting down the heroine and highlighting her naivety and destructive patterns. Love is blind (is the axiom); postulate and noble truth- an idiom that has a particular relevance and universal truth here. The no-good dick she is hanging around with is going to jerk her around; toss her aside with callous ease, our frontman wants her to shape up- asking what the hell she is doing, you wonder why she puts herself in this position. More an adage than an aphorism, the song’s maxims have been heard before: we all can relate to the type of woman who is being eviscerated- the listener will picture the heroine of the song with clarity and detail. Offering up plenty of hard-edged and primal lust, the track sweats, contorts and smacks: it defines and solidifies the song’s words; adding focus and much-needed clarity. Hoping it’s different (this time), the band seem less optimistic- the shark is circling and will claim its victim. Displaying a composition that is more mobile and unpredictable (than past numbers), the mood drops and rises- the band step up a gear here and provide one of their finest tracks. Being a man, our frontman knows how his gender (and mine) operates. A sense of sarcasm and insincerity echoes in the chorus: not washing his hands of her, it seems that nothing he can say can change his mind- by the final moments, he is bereft and exhausted by his friend’s foolhardy and exhausting ways. Ensuring that the final tracks on the album are no latchkey child (or sapling), The Fortune Teller has a verminous and grumbled introduction. With Queens of the Stone Age majesty, the opening moments are certainly invigorating and menacing. The vocals slip into Arctic Monkeys trousers; that same aloof and distinct tone (that Alex Turner perfected) shows some influence on our frontman- the song’s words distance themselves from the Sheffield icons. Asking to be taken out tonight- to the city of bright lights- it seems that our hero is keen to lighten his wallet- give his fortune away and lose it all. Whilst walking on the sand, he wonders what to do tonight- enticed and lead astray (by the city and its proclivities), it seems that our man is embarking on a dangerous course. Stating that “You can have it if you like” a feeling of disconcertedness and unfeeling detachment is enforcing his mandate: less concerned with material wealth, there are more pressing thoughts on his mind. Not revealing the motives behind his benevolence and recklessness, you speculate as to the circumstances behind the story. It is an original song that presents a new take on personal anxieties and disenfranchisement: the images and scenarios proffered mix vividity and distance meaning- full clarity is never obtained (ramping up the sense of mystery and mystique). With the emphatic chorus (ensuring it will not budge from your brain)- for weeks to come- it is a terrific ante-penultimate track- leaving you wanting more. When more does come, it begins with a springing and waltz-like introduction. Its Garage-Rock/Blues luster cannot be denied or overlooked- reminding me of The White Stripes’ debut (songs like Broken Bricks and Jimmy the Exploder particularly). Tired of mathematicians and politicians plaguing the airwaves, our frontman has had enough of things. Offering lies and half-arsed truths, there is no assurance or faith forthcoming: our man wants something he can believe in. Having confidence in himself (his friends and his girl), it is the rest of the world that cannot be trusted- the deceitful and dishonest public figures are causing derision and annoyance. Not content to let his words do all the talking, the composition makes its mark throughout. The chugging Garage riff that propels the song never relents; energised and colourful solos add barbed wire- shout and virulent rage spar with one another. The band seems energised and up for the fight: the way they combine and lift the song is to be commended- lesser groups would tire and offer less passion. Our frontman turns in one of his most intense and direct vocals here: towards the closing moments, it rises and augments with menace and meaning- backed by an accelerated composition, it emphasises the song’s anxiety and desperation. For Every Day a Memory’s swan-song is Falling Down. Starting with a militaristic and tribal drum-roll, you are sat to attention; joined by gentler and lighter guitar strings, a curious and colourful blend is stirred. Determined to end the album with a majesty, the track grips and grabs onto you. With his voice somewhat distant and echoed, our frontman is examining a particular subject: perhaps looking at a love or a friend, it seems he has had enough. The heroine’s daydreaming and friend rotating is tiring and ingratiating; she is going to suffer a downfall and heartache (if she keeps going on this way)- a lesson needs to be learned. If talking to his focal point- or another person- it seems that they are the “only dreamers left around.” On their feet, everyone else is falling down and failing- you can hear the discontent and loneliness in the vocal. In a world where he cannot relate to anyone else, our frontman is clinging onto his friend- the only visionaries and brave souls in town. With that constant percussive riffle in the fray, the urgency and directness never relinquishes. The band mix aching and fuzzy guitar riffs with more sombre and spacey threads; throbbing bass ties everything together nicely- it is one of their most compelling and full compositions. As the chorus comes back around, you think whether our frontman will find his meaning and answers- detached from most of the crowd, here is a man looking for similar bodies and minds. By the final notes, you wonder how things worked out- cliffhangers linger as For Every Day a Memory ends its course.
Before I get down to assessing the band- and highlighting the positives- let us have a closer look. At 15 tracks, the album is a lot to digest. The tracks are excellent, but it may take a couple of listens to take it all in. If you listen to every track is one go, they will not elicit their full potential. It is a record that needs proper investigation and digestion. Maybe the band could have trimmed one or two songs- skimmed a bit to ensure an overall strength- and tightened some of the longer numbers up. The band is original and unique for the most part; some songs tread into Arctic Monkeys territory- the folly and natural instinct of every Indie band. When they do go down this road, perhaps some of their special charm is distilled and watered-down- a lot of other acts suffer this fate. Those are perhaps the only constructive points I will raise: they are not big issues, but maybe something that will remedied when their new E.P. is released. If we assess the positives, then there is plenty to find. The intros. are short and concise throughout: too many bands provide elongated and rambling introductions- the band’s truncated and thoughtful approach makes the songs more focused and urgent. In so much as I have said (some tracks are a bit overly-long), the majority of the tracks seem brief and short- the charm and quality means they whiz by and leave you wanting more. This harmony is achieved due to the band’s songwriting ability. None of the songs sound the same; themes are different and shift- the group approach songwriting with an openness and ambition. Not content to stick with one dimension; our boys look at love, personal insight, money, modern life and regret- so much is investigated across the L.P.- it will appeal to a wide range of listeners. The production and tracklisting is well-considered and impressive. The album is not top or bottom-heavy: the finest tracks are placed appropriately so that the momentum never relents; by the final songs you are left wanting to hear more. The crisp and clear production gives the songs a polish and shine- all the words and notes have a sharpness and sound that means they resonate and ensure nothing gets buried, muted or overcrowded. Each song has its own skin and personality: the band retain their own core sound; open their palette and infuse the pot with diversions, new directions and contours. A rich and rewarding disc, it is not just another album by another Indie band. So many new artists record albums that do not offer too much or separate themselves apart- The 48K’s have enough promise and potential to suggest that they will gain mass critical acclaim. If they can remain disciplined and intelligent- ensuring they keep things tight and taut- then they will have an exceptional and busy future. The album impresses because of the performance of the band as a whole. The vocals are constantly exciting and passionate: able to change course and provide so many emotions, you have to give applause to our frontman. Whilst keen to distinguish himself from any particular names, a clear voice comes out- one that is hard to compare with too many others. It is the conviction and urgency that really makes the vocal stand out- no song suffers due to insincerity or ill regard. The guitar work is potent and electrifying throughout. Mixing in Blues and Garage acts (such as The White Stripes and The Black Keys), the strings can mutate into Indie slams; psychedelic vibes and Pop-tinged seductions- so much difference and diversity is offered. Again, our band do not tread on anyone’s toes: the riffs and parables are very much the work of The 48K’s- few other bands have a distinct edge; making the Doncaster boys a real treat. Tight and driving, the bass holds all the tracks together; it adds its own menace and weight- showcasing an ear for melody, mood and surprise. On many of the tracks that startling bass added a tonne of heart and restlessness- combining seamlessly with the rest of the band. Percussion notes range from pitter-patter and soft to emphatic and pummeling- the drumming is consistently striking and strong. Few Indie bands are noticeable because of their drummer: The 48K’s have quite a fertile and promising stick-wielder in their ranks. Before I move on, I shall just encapsulate the album (in a few lines). There is plenty of catchiness to be found: heart, emotion and anger sit alongside one another; nothing seems forced or unnatural. Possessed of depth, intelligence and professionalism, it is a dizzying array of tracks. Whilst not all 15 tracks hit such a heady peak, there are no outsiders or obvious weak tracks- the lesser numbers still contain necessary clout and impression. I am staggered the band have so much material and quality to play around with here- expecting an E.P. or smaller album, it is a mark of their ambition that they put forward something as rounded and brilliant as For Every Day a Memory.
I have typed quite a few words- I shall not keep you too much longer- but it is important to give a summary: assess where the band are going and how they fit into the scene. For Every Day a Memory is a stunning collection of songs and moments that seems more like a film: so many different stories and moments are packed in; it is as though you are watching an epic of the screen. If the likes of Edwyn Collins takes the time to recommend your music, then you can’t be going far wrong- the man is not exactly renowned for his poor taste and judgement. The boys may have enlivened and entranced Doncaster; bewitched Yorkshire and the north- they should prepare themselves to take their music a lot further than that. I know that For Every Day a Memory has drawn support from fans across the U.K.: the lads have been getting some positive feedback and praise from all across the country. Even though the album was released last year, its appeal and sense of fascination is still burning- commentators and music-lovers are still paying paen to it now. Even though Indie and Indie-Rock are busy and bustling genres, there is a huge amount of potential for profitability- if you are up for the fight. Those that are prepared to put in the graft and effort will reap the benefits; win fans and see their stock rise- as the years go by. The 48K’s will definitely be one of the biggest acts to watch- as we head into 2015. Their passion, flair and talents cannot be denied: they approach music with such consideration it means that all of their tracks are full and well-considered. Bands either lack lyrical clout or suffer when it comes to music and vocals. The quintet pack each song with beautifully vivid and stirring words- themes that cover a spectrum of emotions and subjects. The vocal projections are urgent and rousing; infested with such a gripping sense of occasion, it draws you in- pulling you straight into the song. With tight and layered compositions; consistently stunning performances, the lads have managed to perfect their craft- standing aside from so many so-so acts. So what of the future? Well; I am guessing that some pretty illustrious tour dates will come their way- venues and promoters would be remiss if they overlooked the quintet. The most obvious prediction I can proffer regards predilection: so many new fans will be arriving the way of The 48K’s. Support and popularity is as important and necessary- if you want your music to take off- as anything else: with their numbers increasing and swelling it is not going to be long until the boys get their rightful acclaim. With a new four-track E.P. on the horizon, it is not long before new material is afoot. It will be great to see how the boys have developed and changed- since For Every Day a Memory– and what new inspiration they have picked up. I will leave the review with one particular point: the next year in music. This year has seen the uncovering of some pretty special musicians; a host of terrific acts have made their voices known- I wonder how many of these musicians will make their way into the mainstream. You can always tell whether an act is going to make it big or not: quite a few will be around for a couple of years but will probably not survive in the long-term. The 48K’s are one of the acts you feel will take it all the way. It may take a little while for the boys to climb to the heady heights of their heroes, but the signs look good: if they keep stamping out music of this quality, then they will be big names to be reckoned with. The quintet has assimilated a wealth of influence and knowledge; the kinship and closeness of the band members comes through in their stunning music- they are a group you really want to succeed. Hopefully they can go on amazing their home crowds and flock; I see the guys’ potential further afield: their sound has an international and flexible appeal that will be appreciated by music-lovers across North America, Europe- and beyond. You can only imagine it is a matter of time before demand comes in from across the world- once the full potential of their music hits, it will be great to see just which countries and cities come calling for The 48K’s. Let us sit back and see; enjoy For Every Day a Memory– and wait for their new material to come forth. Safely and securely adorned in the comforts of home, our lads may well have to brace themselves for the bigger and hungrier world…
IF that is okay with them.
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