E.P. Review: Play Record Erase- New Colour

Play Record Erase

New Colour


New Colour is available from August 28th, 2014

Wars of the Intergalactic Kind9.8
Heart of Gold9.6
Asymmetry (Acoustic)9.8
For We Are Old (Acoustic)9.7

Wars of the Intergalactic Kind

Rapture, Wars of the Intergalactic Kind, Asymmetry (Acoustic), For We Are Old (Acoustic)

Alternative-Rock, Indie, Grunge, Rock, Prog.-Rock


From a city that keeps on giving arrives another stunning Leeds treasure. With the likes of Muse, Smashing Pumpkins, Radiohead and Arcane Roots- influencing their sound- Play Record Erase go deeper and further- New Colour showcases just what a distinct and fascinating personality they have. Having only formed this year, the quartet have crafted an incredible and rampantly assured debut


WITH the arrival of a fascinating and distinct new band, my mind has been mulling…

over various different issues. I will raise one now- and the next two (underneath the band biography). For now, I have been thinking of how groups come together; what inspires that embryosis. Being someone looking about for a band- and struggling to recruit like-minded folk- I am always fascinated to see how groups form and come about- what motivates that distinct friendship. A lot of modern-day acts meet by happenstance- bump into each other at a pub; join via mutual friends. In the past, the best and brightest bands were formed during their childhood and adolescence. The legends of song have links and bonds from a young age; enforced by their love of music (a band was formed)- that solid and long relationship meant the music was that much stronger. In an industry where there is disposability (and the need to make a quick buck), the Pop bands of the mainstream are hardly inspiring- as manufactured and plastic as a Hollywood face-lift. I despair when I look around the charts; bands like Neon Jungle, The Saturdays and- God help us all- One Direction seem like a pointless and humourless exercise- what the hell is the point of them? Having produced a myriad of dross and nauseating ‘music’, bands like this as the antithesis of modern music- what we should eradicate and dispense with. Artists that are genuine, talented and (have quality) do not come together via a committee or marketing department; they play instruments and have creative talent- their formation is as a result of mutual respect- and not the need to sexually arouse the 8-18 market. I appreciate that infantile and pre-pubescent minds are entitled to music, yet they seem like wasted currency- their naive lack of knowledge and discernibility means you could sell them a CD of fart noises and they’d go nuts for it. Being a huge fan of the likes of Blur, Radiohead and The Beatles, those bands have common links- their members united at a young age; going on to make music that scintillated the world- Radiohead are not done yet; they have more material in them. I bring up this issue because of Play Record Erase. Having met at Leeds Metropolitan University (last year), the quartet put together the group- they have been solidifying their ambitions, dreams and songs since then. Being a brand-spanking and fledgling act, they are putting together their first move- the sensational and packed New Colour. Privileged to my ears- and reviewers- only, the public will get to examine the E.P. in a couple of weeks. I will go into more depth (with regards the E.P.) in time; it is great to see bands coming together the honest way- with no ideals of corporatism and the lure of marketability. Modern acts such as Ivy & Gold and London Grammar met at university- the two acts share a lot of similarities- and it seems to be uncovering some of our most fervent and reliable musicians. I have a couple of short points to raise; for now, let me introduce my featured act:

Ben Holbrook on Vocals and Rhythm Guitar
Rachael Koszalinski on Lead Guitar and Backing Vocals.
Alex Taylor on Bass.
Joey Heaton on Drums

Play Record Erase, are a four-piece alternative rock band based in Yorkshire taking main influences from bands such as; Arcane Roots, Biffy Clyro and Muse. They formed in 2014 after meeting at Leeds Metropolitan University, where they all study Music Production. The line-up features Ben Holbrook on vocals and guitar; Rachael on lead guitar and backing vocals; Alex Taylor on Bass and Joey Heaton on Drums. Front man Ben Holbrook’s writing style is abstract and diverse, influenced by his love of Si/Fi and fantasy covering slow ballads to intricate heavy guitar riffs. The band have recently recorded their first EP, “New Colour” which follows the theme of an alien invasion on Earth. The EP release date is Thursday 28th August. They are currently performing a 45-min set around Yorkshire playing gigs with other bands/artists while creating a following, planning to get into Festival gigs by next year. Having not been formed for too long they have made a promising start into the music scene. Play Record Erase`s performance on stage is very balanced to compliment their songs. From foot tapping songs, complimented by nice bouncy vocals with rhythmic guitars and drums, moving into heavier riff based songs. The band’s performance throughout the set is great with their musical sound. Play Record Erase, from start to end are accompanied by perfectly matched performance in which they take you through a great journey of alternative rock.

Before I delve into the music of Play Record Erase, I am intriuged about their location and influences. Having been detached from Yorkshire for a few days- I have been reviewing London/Canadian acts quite a bit- I return to the heaving bosom of one of the world’s most vibrant and hard-working areas for music. Being a devoted fan and supporter of musicians like ISSIMO, Jen Armstrong and Annie Drury- some of the county’s sweethearts- there are a lot of great bands emanating from Yorkshire. Leeds is proving particularly striking and fertile. A smaller and less populous city than London, it is staggering just how many new artists are hailing from this wonderful place. Having never been to Leeds- or Yorkshire for that matter- I imagine there is something magical in the air (there); pixie dust sprinkled onto Starbucks lattes- that is the only explanation I can find. Whatever the reason- behind the near-mythological dominance of Yorkshire- it is only natural a stunning band like Play Record Erase have come forth. Being lucky enough to assess several bands (in a similarly infantile stage of development), it always staggers me just how confident and fully-formed their debut movements sound- so assured and direct. Most new bands- true of the mainstream- fumble and stutter about a bit; offer some sketchy and vague presentations- solidifying with age and experiemce. New music is such a competitive and packed market, it means new bands have to go in strong and determined- New Colour is a stunning and solid work (from some of Yorkshire’s sure-fire stars-of-the-future). With so many groups popping up around the U.K., Play Record Erase are certainly a group with a future ahead of them; on the evidence of their debut, they have a lot to offer music. Being influenced by some of my favourite bands- including Muse and Radiohead- I was fascinated to see how these idols found their way into the music (of the band). The quartet mingle male-female vocals with some harder-edged Grunge moments- drawing to mind the likes of Pixies. When more impassioned and anthemic, you can hear some of Muse’s magic. Radiohead embers burst through when the songs drive and captivate the mind; hints of Arcane Roots arrive when proceedings go into Post-Hardcore/Math-Rock avenues. The concoction of multifarious potions are stirred into a boiling pot (that is very much that of Play Record Erase)- the band are the bosses and are not the sum part of their influences. Taking heart and direction from some musical greats, the Leeds troupe simply use it as a starting block: employ some faint hints to augment and flavour their own distinct and homemade sounds. The results- as seen on their E.P.- are dramatic and thoroughly memorable. Having been immersed in recording the E.P.- they have told me it is like a baby to them- you know how much music means to them. I have been lucky enough to hear the tracks; the band do not want the songs falling into public hands until the release date- so much care and work has been put in, they do not want their efforts jeopardised and betrayed. They say Yorkshire is ‘God’s county’- his finest geographical and topologically creation. Having had a baring on the landscape- if you believe in religion and all its improbabilities- then the rolling hills and stunning landscapes have compelled the citizens; spiked the minds of young musicians (to make big strides). Gorilla Punch Radio and Braver than Fiction are two of my recent Yorkshire-based review subjects- between them they promise huge future movements. Tossing their hat into the ring, the songs Play Record Erase have honed (on New Colour) are among some of the most impressive of the year- able to caused excited whispers in the echelons of the music media; excite the tongues of the blog intelligentsia- pretty much f****** overwhelm the eager public. With all this being said, it is probably apt I get down to investigating the band of the hour.

Play Record Erase are stamping out their first fully-formed and realised moments. It is difficult to look back and see how they have progressed- given they are in their infancy. The most contextually apt thing one can do is to assess their current motions- which are stunning in their completeness and urgency. From the very first notes you are stood to attention; braced and tied to a chair- the immediacy and stunning power that radiates is intoxicating. Most bands come in with a slightly restrained and restricted sound- when you hear their debuts. Play Record Erase make sure New Colour grips you from the very start. The primal chest-beating declarations are amplified, augmented and expanded (upon)- its grip never relents; you are powerless to escape its shadow. I suspect that future releases will see the band continue down the same path; make sure they pack as much punch, ethanol and passionate grit into everything they do. Most bands- who would aim towards the heady and exhilarating- tend to lack clarity and focus- their music comes off as too insistent and eager. Little consideration is paid towards nuance and solidity; the empirical truth is that most acts tend to gamble aimlessly (at the start). The Leeds four-piece have taken the effort to ensure they marry the arresting and anthemic with detailed and controlled. There is never a sense that they have lazily put sounds together; been content to just throw in some heavy and hard notes- and hope for the best. Incorporating some elements (of their idols) they stir this alongside a very unique and particular voice. Few other bands compare- when it comes to sound- so it is going to be great to see the band flourish. With their songs seemingly made for stadiums, festivals and sweaty gigs; I fully expect them to ascend to the upper echelons. As I say, it is early days, but their sapling intentions are pretty damn intent- the guys are not here for the short-term. Their hydrochloric burns are those that mark the skin; they leave their impressions and hypnotise the senses. Across the twenty-or-so minutes (of New Colour) you are offered a myriad of diversions and possibilities- the band do not lazily stick to one particular theme and projection. Few acts take the trouble to add depth and layers to their music; make sure the listener is given a heap of information and colours. Play Record Erase set their stall out promisingly; they have managed to craft an E.P. that mixes Hard-Rock/Indie anthems with darker and Grunge-inspired jams; lighter and more elliptical swathes. That rich and diverse set of emotions means their E.P. will resonate with a wide range of listeners. In terms of their development and future potential- there are some signs of where they may be headed. After listening to New Colour, you sense the band have so much in their arsenal- capable of heading in any direction. I can see- future releases- containing some Pop-inspired moments; Folk avenues and softer moments- in addition to striking and fast-paced Rock jams. Their current evidence points towards a very promising future indeed.

If you are looking for any like-minded acts; any that have inspired Play Erase Record and their plight- there are a few that came to mind. The first act I will mention are Arcane Roots. An influence of the band, the new band are setting tongues wagging. Bolstered by Andrew Groves’s emphatic voice, the group inject Math-Rock force and variegated rushes into their tracks. In the live arena the band employ fractal fret-wrangling and pomp anthems. Quiet and more reflective moments sit with exposed songs like Hell and High Water– the group has such a range and sense of variation. The album Blood & Chemistry alerted critical minds. Shattering riffs and maturity sit alongside one another; bursting with originality and convulsive guitar hooks. Whilst not as electric as their 2011 E.P.- Left Fire– it does provide some delicate atmosphere. That insatiable blend of delicate and hell-fire makes the music of Arcane Roots such an explosive proposition. The invigorating instrumentation and angled drives may not hit the heady heights of Biffy Clyro; yet they have the potential to be big names of the future- still developing their sound and ambitions. The progressive tendencies of their music separate Arcane Roots aside from the competition- the unpredictable song structures really stick in your mind. Dynamic time shifts and signature alterations keep their music alive and alert. The band is just as comfortable when presenting slighter and distilled sound- as they are when raising their fists and pumping towards the heavens. In a way, Play Record Erase share similar personality traits. With packed and powerful vocals; sky-scraping and lofty riffs- the Yorkshire quartet have serious ambition and credentials. Whilst they incorporate fewer Math-Rock angles, that works in their advantage- their music is more universal and less divisive. Like Arcane Roots, our heroes ensure they mix elements and emotions together; they are confident and at home when letting the sound dip- and channeling their urgency into rousing and uplifting codas. Andrew Groves’s determined and mesmerising falsetto wail puts you in mind of some of the all-time greats. Ben Holbrook has a similarly captivating and staggering set of pipes- able to make every song sound elementary and completely energised. The sing-along choruses and catchy rhythms are another side of Arcane Roots- perhaps they do not do softer numbers quite as well. Play Record Erase do not present that many calmer and more reflective roots- it can be a murky and dangerous bog to swim in. When they do let their music downshift and temporise, they come up with some stunningly rounded and gripping moments- much stronger than Arcane Roots’ attempts. Arcane Roots are already being touted as successors to Biffy Clyro- not that they are done- and able to slipstream into their milieu. Being a band with such an impressive weight in their cannon, Play Record Erase seem capable of joining Arcane Roots to the big leagues- the sound the duo create are in-demand and much sought-after. Before I mention a run of (other) U.K. influences, there is an American band- that comes to my mind- in the form of Pixies. If I try to parallel Play Record Erase to a particular Pixies album, it would be Surfer Rosa. One of the band’s early works- and less appreciated efforts- it remains a masterpiece of ambition and conception. The sudden bursts of Pop melodrama and invigoration sit with Spanish-themed utterances; big and dark crawls- it is a cornucopia of music. Embracing left-field ideas and commercial endeavours, Surfer Rosa is one of the most rewarding and unsettling (of the band’s efforts). Beautiful brutality and striking guitar riffs make the music come alive- tracks like Brick is Red and Where is My Mind?  are among my favourite Pixies cuts. The compulsive and blazing polarisations stick in the mind. The band’s College-Rock collages see Flamenco snatches fuse with lighter and more redemptive Pop numbers. Haunting and personal introspections showcase mature and deep songwriting; upbeat and playful songs emphasise Pixies’ full potential- Surfer Rosa has influenced a huge amount of new bands. Play Record Erase have taken some of these motifs and ideals to heart. They can act playful and whimsical when the mood strikes; claustrophobic and strangled the next- the group do not rest on laurels or take any unnecessary risks. With such balanced and fully-rounded songs, they match Pixies for ambition and diversity- all backed by their pressing and enlivening sound. Like Pixies, the Leeds troupe employ prickly guitar barbed wire; propulsive percussion; sugar-and-sandpaper vocal mixes- strange fetishes are less abundant (but you feel like anything is possible). Instilled in the music are embers of Punk and ’80s less-is-more production values. Coupled with an innate ability- to create multicoloured theatre- Play Record Erase have some of Pixies’ distinct and impressive genes- it will be great to see how this is expanded and realised across future records. The Feud are a group that have made an impact on Play Record Erase. The band have been around for a while, yet have not reached their full potential- they have the same magic and potential as Does It Offend You, Yeah? The varied music tastes (the band possess) is enforced in their music- that energy and diversity shines. Heavy riffs and energised elements combine with melodic and catchy sing-alongs- the band enjoy and appreciate the Synth.-Pop music of the ’80s. The group inspire crowds to get crazy and rowdy; tap their feet and sing along. The band is one of the most popular new acts coming through; they have struck a chord with listeners and have a very popular sound- Play Record Erase have instilled these elements together (in their music). A band that are sure to inspire new listeners and fans, they have that same ability to get crowds swaying and dancing- touching bygone genres and mixing it into their melting pot. One of the most scintillating acts- when thinking of Play Record Erase’s sounds- is Muse. The Devon legends have inspired a lot of great bands- they themselves have been inspired by the likes of Queen and Radiohead. The best Muse-based albums- I can compare with New Colour– are Origins of Symmetry and Black Holes and Revelations. Those two albums saw Muse develop and evolve: the former was a leap from their debut; the latter is their finest moment. On Origins of Symmetry, there was a break from the pomposity of Prog.-Rock; the sizzling cuts like Plug In Baby and New Born marked the band out as epic contenders. It is not just the raw and unbeatable songs that lodge in your brain- their take on Feeling Good is a stunning reinterpretation; Micro Cuts is a distorted and quasi-operatic gem; Space Dementia is an intergalactic mini-epic. Matt Bellamy’s piano genius came to the fore- later to be developed and cemented on Absolution- and gave vivid life to the album’s finest moments. Although Muse created more grand-standing albums, they never sounded as intriguing and demented. Monolithic riffs and see-sawing percussion staggers see Bellamy indulge his inner-Thom Yorke: at a time in history where Yorke was fed up with his own voice- Bellamy puts his own over-the-top and over-extenuated stamp on that sound. Able to make the speakers get up and dance; make blood pour from the eyes- Origins of Symmetry remains a modern-day classic. Play Record Erase are less preposterous than early-days Muse- they manage to incorporate the band’s most worthy and universal charms. The emphatic and impressive vocals- Bellamy perfected- match Freddie Mercury power; Thom Yorke beauty and Roy Orbison-esque emotional quivers. Riffs and guitar considerations have that same blend of rifftastic-cum-restrained. Black Holes and Revelations remains one of my favourite albums- an audacious and huge statement from one of the world’s best bands. Knights of Cydonia is perhaps the best closing track on any album- that insatiable closing riff is enough to raise the dead! The album brings up issues like political strife, unjust wars; populist revolt- personal revelations come into effect. Whilst Play Record Erase do not contain the same overt political rage, they mix personal and introspective offerings with deeper and more universal themes- their music has similar potency and passion. Whilst some critics derided Black Holes and Revelations‘ lack of depth (and over-use of histrionics), you cannot deny how memorable and era-defining it is. Yes, there are overblown moments and bloated suggestions- by-and-large the album is taut, muscular and utterly divine. Glam, Pop and symphonic classic oeuvres are mixed with one another; the grand dramatics work wonderfully- it is a meticulous and complete album. Rock opera and layered guitars levitate songs; sultry and sexy swagger blends with razor-edge cut- the band are on an equal footing from start to finish. Play Record Erase employ similar considerations: they mingle sexy and smart; sassy and sharp; layered guitars and tight jams- each member has similar equity and influence on the numbers. When Black Holes‘ came along, the public realised what a huge Rock package it was- Americans were a bit dim and slow to absorb its magic- and retrospective reviews pay testament to this. The Leeds crew go to the same detailed lengths to ensure their music is as a full and nourishing as Muse’s- that detail and workmanship makes them such an incredible proposition. Continuing the British influences, Biffy Clyro should be mentioned. Like Muse; I will point to two influential and relevant albums: The Vertigo of Bliss is the first. Following on from a decidedly shaky debut- Blackened Sky– their follow-up was a huge leap forward. From the provocative and sexual album cover, the L.P. presented sublime inventiveness and thought-defying Rock parables. Anger and adoration are blended with authority and conviction; the band embody Indie sensibilities with Rock bliss- the album crackled with certainty and assuredeness. Inventive and haphazard rhythms tangle with awkward guitars- the album is fresh and live-sounding. Recorded over a single day, it is the sound of a band in their element- completely natural and without anxieties and hesitations. Play Record Erase present the same sort of live sound; the conviction and professionalism- their songs unite distinct guitar sounds with juddering drums; soaring vocals and sublimely atmospheric anthems. When Biffy released Opposites (last year) is was met with mixed reviews. Critics- who were positive- claimed how gripping the album was; its serenity and progressive ideologies made it sparkle and captivate; the special and varied songs resonated with critics- many were bowled over by the seismic riffs, hits after hits; the quirky edges and jagged avenues. Calibrating their intelligent brand of Rock; the band brilliantly switched between edgy and mainstream- Pop and Rock moments naturally seduced. The Scots’ take on Fugazi’s heady and mesmeric brand of song comes out in the album; they instill Nerd-Rock too- dichotomous discipline and crowd-pleasing recklessness make the album such a contrasted gem. The last British influence I will name is Radiohead. The quartet instill shades of Radiohead’s genius and staggering songwriting. In terms of albums- just to give you relatable examples- I would say The Bends and In Rainbows are the most pertinent examples. Having been named the most influential band of this generation- by N.M.E. readers- the Oxford legends have made an impression with a lot of modern acts. The Bends is my favourite album of all-time; it is the finest album in history- many can argue; many would be proven wrong. Defying expectations and marking a quantum leap- from the rather mixed results of Pablo Honey– it is an album that shaped music for the better. While Holbrook does not whip out the angst-laden falsetto (as much as Yorke)- he favours a more manly and chest-beating sound- he does possess the same sense of serene beauty and sensitivity. Not some Liam Gallagher-esque knucklehead, our man portrays his own unique blend of softer emotions- funneled through his distinct and striking tones. The band take bits of The Bends; sprinkle it into New Colour– creating some vibrant results. Play Record Erase take on board Radiohead’s cerebral brand of Rock; they turn clichés inside-out and make everything sound fresh and new- the way P.R.E. mingle complex instrumentations with mixed emotions stands them out. There is that undercurrent of melancholy and sadness; the abiding sense and feel is of a band that want to embrace and seduce the listener- take their mind somewhere unique. Like The Bends, In Rainbows came off as a huge surprise. Whilst most assumed nothing monumental would follow Pablo Honey; fewer predicted anything genius would follow on from Hail to the Thief– one of the band’s most underrated works. More complex- and less emotional- than The Bends, In Rainbows was a hugely well-received album. There were no wasted moments or ideas; each track is tight and nuanced- there was a otherworldy quality to proceedings. Abstract sounds and accessible words made the album a stimulating and tantalising treat- breathtaking beauty sat with raw and visceral moments. The studio performances came across as relaxed, assured and tight- the band sounded happy and in-step; gone were the anxieties of their post-OK Computer works. Play Record Erase sound as happy and together; that naturalness and tight set of performances comes across; the group mix beauty and radiance with something darker and more determined- they melt abstract angles with universal messages and thoughts. Although the scenic and colour-filled promise an album like In Rainbows puts through, there is an emphasis on romance and beauty. Even though words speak of comatosed nights, zombies, bodysnatcher, disease; suicide and pain are discussed- the core and beating heart looks at redemptive aspects and love. Words and lyrics worm their way into your mind- including the heartbreak line “I’m an animal trapped in your hot car“- and speak of universal experiences; there is emphasis on the songs- making sure they drive forward and do not lose their sense of loyalty. Play Record Erase have the skill and mentality that means they blend romantic endeavours with vivid and striking scenes; lyrics that stick in the imagination- complex and multifarious compositional elements; the complete shebang! The final band I will mention is Smashing Pumpkins– one of the darker and more shadowy influences. In terms of finding an appropriate Smashing Pumpkins album- to draw to New Colour– the best example is Siamese Dream. Perhaps a heady comparison- given many rank it alongside Nevermind in terms of scope and genius- it is the most apt album draw. Whilst Billy Corgan and his bald-headed oddity spawned some pretty terrible moments- albums after Mellon Collie and the Infinite Sadness ranged from great to God-awful- on their sophomore album they were inspired. The 1993 masterwork was synonymous with its slackers-with-a-vision charm. Less chemically castrated than a lot of their peers, Smashing Pumpkins’ fuzzed-up riffs were quite the match for Nirvana’s era-defining epic. Although Siamese Dream was created midst turmoil and broken relationships- like Fleetwood Mac’s Rumours- it contains some phenomenal music. Layers of guitars and sound collages sit with consistency and emphatic quality. Ranking alongside Nevermind and Superunknown– as one of the best Rock albums of the ’90s- it is rife with outright outre glisten. More grand than the sacrosanct underground Grunge acts- of the time- the cathedrals and monuments of guitar sounds stuck in the mind- Siamese Dream is a righteous and bold statement from the U.S. band. Play Record Erase make sure their music covers such wide and impressive ground; their guitar notes and layers are insatiably atmospheric and gripping; the consistency and quality is of the highest order- although they do not ascend the heights of Siamese Dream, they have rife ambition and intention. All of these influences can be heard in various moments (of New Colour) but should not be taken as gospel- I mention them to give you an overview. Play Record Erase have their own distinct and well-honed sound; their bond and uniformity is as a result of incredible friendships- the music pays paen to their natural sympatico and intuition.

Germane latency is not an option when you consider Rapture– its early notations are a symphony of intention and unbridled swagger. The guitars strut and sting; the percussion clatters and pervades- the bass guides and navigates. Instilled with a catchiness and unerring confidence, the track provides a contradistinction- few contemporaries lace their embryonic passages with such a fervent hustle. Perhaps appropriately, the first words- uttered by our hero- are “brace yourself.” Telling us our time has come, I get a sense- oddly- of Kurt Cobian. That inimitable delivery during In Bloom‘s verses- the slow and taunting back-and-forth- comes to fruition here. Delivered as a sermon-come-warning, the singer sets the scene- a nearing apocalypse is afoot. Not caring anymore; the revocation of strength leads to a blase and relaxed attitude- as the world crumbles and inflames; our hero is kicking back with aloof disregard. The composition ensures there is sonic fascination (throughout)- the guitars snarl and twist like a Pixies rapture; never too heavy or hard; underpinned with melodic intent. Few listeners will be uninitiated to the power and prowess of the music: it conjures myriad thoughts and themes; tempts and teases- spits out oodles of tantalising moments. Our man looks at “all distractions“; the chorus blooms and blossoms with a full-bodied vocal projection- mixing Foo Fighters, Muse and Arcane Roots. Like Devon’s whacky Prog. sons, the Leeds quartet are deftly able to weave in pathos and humour; brighter strings with more shadowy vocals- that contradiction and commingling adds layers to the track. Throwing so much into the mix, the listener is gripped by its passion and meaning. Human compassion is being eroded and subjugated; the noble crew are surveying a dilapidated landscape- the intensity and urgency in the vocal makes every word’s hair stand on end. Summoned with a blend of coolness and gravel, our hero does not explode or burst- he allows his voice to match and sit alongside the composition; it is well-paced and detailed. As the song reaches the 1:40 marker, a spine-tingling and animalistic guitar growl is unleashed; it weaves and bays for flesh; yawns with malice- vibrates and kicks with bravado. Marrying some of Nevermind-era Nirvana alongside Origins of Symmetry Muse, the band rustle up a hypnotic jam- imbuing it with their own unique and intuitive drama and identity. With a final throw of the dice, our hero lets his voice ring out. When controlled and muted, it is a dark and Grunge-influenced beast; laying in scenes of heartbreak, distraction and disconnection. As the chorus swings around, it expands and opens up- becoming more Indie/Prog.-inspired- showcasing his full range of emotions. As the gamut is run, the song never lets its grip go. It is a tight and muscular offering that never lingers too long; it packs such a punch in under 3 minutes- few acts have such a regard towards economy and length. Quite a startling and intent opening statement, you are primed and ready for what is to come. As the brain-seducing Wars of the Intergalactic Kind makes it way in, our hero is trying to read signs- unable to decipher them, he begins his travelogue with a heavy anxiety. Naivety and blindness are traded alongside double-blind bluff and a curiosity- the vocal deployments matches smooth and sensual with a spicier and more pressing soul. Whereas the opening number ending with a very distinct note- that reminded me of Soundgarden’s Black Hole Sun– the progeny starts with more elliptical and nuanced workings. The guitars twiddle and notch; they twirl and spiral- the sound is a Morse Code marionette that has a spacey and cosmic beauty- backed by a pulsed and smashed guitar ellipses, and you get a rich and vibrant sound. “The war is on” is the elongated and pertinent coda; the clarion call and rally cry that precedes a bellicose compositional slam. Letting his voice regress and demure, the band take us into the stratosphere. A swaying and delirious parable is unleashed; it staggers and swaggers- once more- psychotropic and determined, it is a stonewall classic riff. The heady brew bashes the bones and stretches the brain; elastic and impassioned- there is no diaphanous escape to be found. Stadium-ready and kick-ass it matches an avalanche of fire with a tidal wave of hornets- it is the sort of frenetic and psychedelic head-f*** that is capable of healing the blind. Further diversity and subsumed brilliance is added with a Spoken Word passage. Acting as a news report -and urgent bulletin- the newscaster offers some stark messages. The creature-like humans are making demands; unsure what their demands are- updates will be forthcoming. Stepping into Muse’s 2001 clown-coloured size 14s is a brave endeavour indeed- the fact the band pull it off is deeply impressive. Not as all-out bonkers and pompous as Origins of Symmetry‘s most byzantine cuts- Space Dementia, Micro Cuts etc.- it has a feel of Citizen Erased. Mixing the charlatanism of Kabalarian Philosophy with overt operatics, the track is a blissful brain-melter. Our hero’s vocals coo and wordlessly seduce; change course and set up the decibel entourage- one that attacks and pillages with blood-lust intent. With fairly few words, the emphasis is placed on the composition and setting. The notes and guitar slams paint the picture and project the images; intergalactic riffs and snaking contractions keep the song rampant and unerring. Backed by an army assault of smashing percussions- and rythmic-cum-Kim Deal bass work- the band summon a Molotov Cocktail of potency- one that grabs you by the lapel and drags you into its dungeon. Grunge majesty- that the likes of Smashing Pumpkins and Nirvana have solidified and synonymised- mixes with spectral Indie touches- the combination seduction dance is an unexpected and mesmerising treat. You can tell how much thought and consideration has been paid to the composition- and song as a whole. It does not lazily play and wander; the riffs and parables are delineated with a perfectionism that is hard to find; the emphasis is on mood and fervency- it is a delicious and salacious outpouring that enthralls and overthrows. Suitable for the Sunday night majesty of the festival circuit, it is the sort of song that could rouse thousands of fans into a delirious frenzy. Conflagration and disturbed robotics come into play; twisted and technological electronics give the song an eeriness and strange charm- after the smash-and-grab bait-and-switch; the song evolves into something more crepuscular and menacing. Subverting expectations, your despondent senses are left to try to redress the aural genocide- Wars of the Intergalactic Kind take no prisoners alive. As the conclusionary moments show yearning and lupine strings play, you catch hints of Pearl Jam and Radiohead- snatches of Ten and The Bends fuse in a riot of celebration and lust. Offering some updates and news flash, our hero looks at the emergency unfolding- his voice has a heaviness and breathiness (that shows appropriate fatigue and exhaustion). The skies are beckoning some killer intruders; the human race is looking up nervously- gotta defend our lives against the invading space warriors. Not done with his missive, our hero has got to “escape this Earth“; get away and find interplanetary consolation. Before we are all brought down, a plan needs to be formulated- you can feel the wrath growing hotter and heavier. With one final kick of the jams, the band offer a concise and tight swan-song- a brief Spoken Word presentation wraps things up and we are done. Following a 1-2 of songs- that have offered so much force, fascination and epic-ness- Heart of Gold provides chance for calm and reflection. Still absorbing the staggering sounds- that have come before- the ebullient and gorgeous burble of the intro. has romantic longing- a bargaining chip against the oppressive forces of rapture and intergalactic warfare. Sun-kissed and echoed vocals have a tranquility and headiness to them- our hero sound far-off and floating. Sounding like he is singing underwater (or inside a vacuum), the serenity and riparian flavours match Folk and Pink Floyd-esque Art-Rock sounds. Never straying from the reliable and tested avenues of space and otherworldliness, the band take their mind into softer and floating territory- the opening moments are a paragon of somnamubulistic luster. Just as you are bedding in for a dreamy sojourn, the composition elevates and ramps up- the same sort of tee-up that beckoned in Gigantic‘s Pixie dust assault. Our hero looks at his sweetheart; someone who wanted more- she has caused him some tribulation and discombobulation. Perhaps declarations are not pained and as wracked- as one might first assume. With her “heart of gold“, the heroine is being given an appropriate amount of dedication and tribute- it seems here is someone who gives more than anyone else. The song’s title is repeated like a manta: with an upbeat and urgent projection, you can hear the breeze and soulfulness in our hero’s voice- he seems less closeted and scared than in previous numbers. As the percussion showcases some cymbal softness and (austere and authoritative measurements); the bass possesses melody, rhythm and heart- the guitar sounds trade wooziness and dexterity. Mingling Pink Floyd’s most ethereal moments (of The Dark Side of the Moon and Wish You Were Here) you are powerless to resist their charm. After the calmed and restrained openings, the song burnishes and burns with fury- the guitars conduct their business with righteous vengeance. Of course, the song has its loins in romantic quarters- there is no repression or fury here. The swell and lust of the guitars does not scare or fend off- it catches you with its grace and power. Displaying an unending amount of urgency and grip, the band unite in one of their tightest performances. Backed by the band’s heroine, the vocals are given an extra layer of beauty- as they combine to utter the song’s central message. Juddering guitars and anthemic bursts crackles and swell with elliptical pride; the final moments leave a smile on your face- the song’s brevity and insatiable passion leaves you wanting more. Into the second-half, Asymmetry has an ironic title- the song leads with the same pugnaciousness and intention as Rapture. Perfect counterparts and cultural attaches, the two possess the same drive and teeth- here proceedings are even more ramped-up and violent. The composition is a white-hot and lascivious thing- it swings its testicles with scant regard for ethics and refined desire. Pummeling and atmospheric, the mingling of Muse and Nirvana strokes is sprinkled into Play Record Erase’s unique and cultured veneer. Calming and taking the volume down, our hero approaches the mic. Mystique and obliqueness see our man proclaim “We’ve been here before“- my initial impressions turned towards love and a broken bond. Maybe the lovers have been together before- and ended things- and the partnership is not quite as equal (as it should be). Maybe in two different spaces, the distinct lovers are playing things on different plains- the conviction and passion in the vocal performance is among the E.P.’s most gripping. Our hero declares he is caught on the outside; you get pictures percolating and spinning. Backed by a howling and fighting riff, our man is backed by our heroine- the two unite on the vocals to give the track a beautiful two-handed quality. Our frontman’s mind seems weighted and pained; you can tell just how burdened he seems to be- the endlessly compelling performance does not overthrow this assumption. A sense of mystery and openness comes into effect; the lyrics have a quality that means they can be interpreted in different ways- each listener will have their own interpretation of events. Squalling guitars arrive to inject some Grunge fury; the burbling and thunder-storm vibrations give the song snap and crackle. When the words “Was it worth it?” are repeated- by both singers- you wonder what is being referred to. Maybe someone has been cheating and fooling around; being dishonest and disloyal- the amount of punch and underpinned anger (that is projected) makes you think things have come to a head. The voices blend with one another; that message keeps on being repeated- another thunderous burst arrives (as we see our players caught on the outside); your mind becomes a centrifuge of what-ifs and possibilities. As the track comes to an end, you wonder how things worked out- whether negotiations and common voice is arrived at; if things are too fractured and ill to recover and mend. It is great to hear Asymmetry (Acoustic) as it presents a different take on the track- a more reflective and acoustic-led gem. Funky and springing guitars levee the track in; the bass twangs and reverberates with intent. The lyrics and words have a little more clarity to them; the rush and passion of the composition- on the previous number- sometimes overpowered the intelligibility and focus of the vocals. In a soothed and less cluttered environment, you get a more direct and unfettered performance. The beauty of the vocals is very much present; the composition is less determined and overpowering- new contours and dimensions are revealed and uncovered. As entranced and committed to the vocals- and the messages- as you are, it is the strings that compel the mind; that jumping and plash sound is as catchy and committed (as anything else on the E.P.). Showing a more Jazz and Acoustic sound, the song reveals new depth. The ‘original’ is a spellbinding and unforgettable number- the fact the band decided to re-record it shows just how much the song resonates with them. Adding new light and energy into its story, the skiffling and itinerant composition keeps pressing. Our hero’s voice is purer and more impassioned- refraining from the tendency to lift to the heavens with anger. Demonstrating how competent, assured and natural the band are in the live setting, the song has multiple distinctions: it gives fans a chance to hear what they would sound like in intimate venues; how adaptable they are as performers and composers; witness the nuances and depths of Asymmetry. Finger-picked notes and static strums nestle with beautiful and aching strings; the percussion beats like a heart- the community of notes provided is harmonious and deeply exhilarating. When that coda- “Was it worth it?“- is re-appropriated, the duo- of singers- give it a new skin and wardrobe; more romanticised (than spited) you are gripped by the tranquility and power that melt together. In addition to the tracklisting being spot-on and perfectly thought-out, the album’s acoustic numbers- and final moments- are beautifully sequenced. The band do not allow a pause between the two acoustic numbers- the tracks flow into one another splendidly. Like Queens of the Stone Age did on Rated R; The Beatles did on Abbey Road (Side B), here the run-on leads to a constant energy and mobility. Showing they can present and elicit as much power and curiosity when wielding acoustic guitars- as an arsenal of electric ones- the Leeds band ensure the E.P. ends with a softer and more lullaby-inspired duo- after the hailstorm and biblical vengeance of the opening cuts. For We Are Old begins with a catchy and swooning introduction; there is Jazz and Folk elements- it sounds almost like a slowed-down version of the intro. to Just (by Radiohead). Perfectly priming the senses, the graceful and serene tenderness gets into your mind. The vocal here elongates words and stretches sentiments; rather than going for out-right urgency- here a different perspective is offered. Our hero is looking at a subject; seeing if they can see (him) on the other side; “the other side where there is no light.” Falling in line and posing some tough questions, our man is breaking his neck- just looking around. There is some sly humour and wit instilled within the spiked heels of the song’s core; that counterbalance of sharp and sweet makes you smile as well as reflect. Endlessly gripping and flowing, the strings are once more deliciously intriguing and assured. Advising his cohort- or perhaps himself too- to stay inside; it is the only way to say (if they’re still alive). The vivid images and cinematic scenes flood into your brain; as the percussion and strings augment and swell, the song becomes more intense- ensuring its conclusion is as memorable as its beginnings. With an aching wordless vocal line- yearning and romantic- the leads combine in voice; beautifully sparring and making the shivers arrive. It would be great to hear the track expanded and presented (as a Asymmetry-esque number)- add symphonic aspects and layer it a bit. The band showed how great Asymmetry is- as a ‘studio’ cut- and how wonderful it could sound as a live cut. In that same sense, one could envisage the track earning new stripes and glory- were it afforded the chance to be treated and given its bilateral aspects (a chance to shine). Having witnessed six very different songs, you are desperate to hear more- the E.P. leaves the mouth watering. I can very well imagine For We Are Old making its way onto a future disc- as an all-out assault. So many possibilities and opportunities await the band; on the evidence of such an emphatic and endlessly fascinating E.P.- the future is very much theirs.

Usually when an album, E.P. or song has a particular score- a 9.0-9.5- I have a certain amount of things I can say; the paragraph is middle-lengthened. The fact that I have judged New Colour as a 9.7 means I have a lot to say- it is such an impressive work. Before I get down to highlighting the individual band members, it is worth applauding the E.P. in its own context. Able to cause nominal aphasia and stunned silence, it is one of the most immediate and stunning records of the year. Music is designed to heal the mind and inspire listeners. In a week where the world has witnessed tragedy- that has affected everyone- we are need some comfort and assurance. That feeling of loss and tragedy will eventually dissipate; what it leaves behind (and how it affects people) will not- our minds and collective souls desire something redemptive and nourishing. If records like New Colour arrive regularly, then there is little chance for sadness or too much reflection. Being gripped from the very infant moments, the E.P. surprised and shocked me. I was not expecting something so immediate and mesmeric (from such a new band)- only releases by Allusondrugs, Reverend Moon and Little Sparrow have surpassed it all year. I know how hard the quartet have worked on the songs; how proud they are- and rightfully so. The sequencing and production is splendid. When the numbers are harder and heavier, the production is polished (but fairly lo-fi)- it allows the tracks a chance to pervade and shine. Imagining it has been co-helmed by Gil Norton and Nigel Godrich, it fuses the best elements of Pixies and Radiohead- the combinative atmospherics and cinematic sounds. When the acoustic numbers arrive, nothing is buried and burnished- the notes are crisp and clear. Reminding me of Jeff Buckley’s Live at Sin-e album- recorded in 1993- there is an intimacy and closeness that draws the listener in. Many would imagine those disparate sounds are not conducive with harmony- how wrong you would b!. If the acoustic numbers had been placed between Rapture and Wars of the Intergalactic Kind, then the E.P. would have suffered- the pace and urgency would have been uncoupled and disturbed. The heavier and harder numbers arrive in the first half- the second half is more reflective and acoustic-led. It means the mind is bursting and hypnotised at the start; by the middle the soul is inflamed and nourished; the last two tracks grant fulfillment and light to the heart- such is the emotional considerations, you cannot help but be besotted by the E.P. It has plenty of nuance and repeatability- tracks will reveal new elements on future spins. Perfect for the darker and colder days -as the summer nights- there is a huge mix of sounds and genres. The eccentric and unheard-of genius of Wars‘ will appeal to those who yearn for Muse’s halcyon days- when they galvanised their brilliance and seemed unstoppable. This track is probably one of the most distinct and memorable I have heard this year; Rapture has a similar brilliance and hard-hitting attitude- drawing in Grunge heroes like Nirvana and Smashing Pumpkins; a smattering of Radiohead and Muse. Most bands- who are experts at anthemic jams- are less effective when calmed and romantic- the likes of Arcane Roots and Foo Fighters come to mind. Play Record Erase have more in common with Nirvana and Pixies. On albums like Nevermind- with Polly- and Doolittle; you get some reflective moments of beauty- passion and Pop moments take your breath. The Leeds band’s soliloquies of grace and wit are just as splendid and rich as their fire-fueled wig-outs. Not only does this make their debut such a huge treasure- it bodes well for the future. Showing they’re as authoritative when in acoustic realms- as in the throes of wild warfare promise- the band are adept at mixing genres and sounds into a complete whole. Being a tight and focused E.P., the quartet not only spread their wings- at six tracks it has more tracks than most E.P.s- but remain concise and teasing- no song lingers too long and stretches needlessly. In addition to some masterful producing, programming and mixing- it is the band performances that make the music so alive. Lyrics mix themes of apocalypse and alien invasion- kooky and intergalactic themes that few bands tend to tread. Do not think that we have a Muse-worshiping copycat band here- our heroes nod their head coolly and simply provide their own take on space and war. Able to convincingly compel when speaking of love and reflection, the band show just how much of a range they have- never dropping a step whatever they are documenting. This motility and multifariousness spills into compositional avenues- even more so! Kudos much firstly be levied towards Ben Holbrook. The singer and rhythm guitarist injects so much light and power into the sextet of songs. His vocals never succumb to the histrionics and screeching of Matt Bellamy. Composed and emotive, Holbrook has a distinct and unique set of pipes that means he is a master of overt emotion and dread- as he is when introspective and romantic. Few singers sound at home when they allow themselves such a wide breadth. On songs like Rapture and Wars‘ you get a bona fide leader and corporal- someone who unleashes so much atmosphere and desire. Making sure the listener believes every word- some get pretty out-there and surreal- that is no mean feat; he is able to do it with an apparent ease. Towards the E.P.s final moments- combining with his female cohort- you get a side of beauty and tenderness. Allowing his emotional and touching side to come out, you get the full picture of the young singer. When letting his guitar pervade and hunt, he unleashes a huge amount of stun and ability. Providing perfect support to the lead guitar, so much rhythm, direction and story is offered. Holbrook shows just what a multi-talented player he is; able to elicit so many different sounds and sensations. When it comes to talented, Rachael Koszalinski is certainly on an equal footing. Her vocals add so much beauty and passion to certain moments. Sorry to hark on about Pixies, but the way Kim Deal augments and enlivens songs- listen to their back-catalogue and find out why Pixies suck so much now- Koszalinksi is an essential vocal force- on the acoustic numbers he contributions are sweet and endlessly impressive. Combining naturally and seamlessly with Holbrook, the two make an incredible duo- I hope they blend voices (more) on future discs. As a guitarist she is in a league of her own. In a music scene that is still male-dominated- especially bands- our heroine shows she is as good as her male colleagues. Being a fan of guitarists- in new music- like Carmen Vandenberg, Koszalinski is a valuable asset (to the band)- I can think of few other axe-grinders that have such an ability. The guitar-wielding wonder manages to draw in a host of other names. When intergalactic and robotic, I catch elements of Jonny Greenwood and his OK Computer period- listen to the twisted and distorted moments on Paranoid Android and Subterranean Homesick Alien for a start- and you can hear bits of Koszalinski. She is capable of evoking images of alien conversation and starship warp-drive; robot war plans and starlight fire- in addition to more grounded and common forces. Swaggering, spitting, sexual and gritty; she has the power of a Grunge band leader; plenty of melody, rhythm and Pop-influenced sounds come out- her kaleidoscopic abilities come to fruition throughout New Colour. By no means second in nature is Alex Taylor. The bass bad-ass manages to shift and snake with effortless acclaim; shimmering and driving, he is the backbone of the band. Providing guidance and leadership, his bass makes each song crackle and spark. When we hear acoustic numbers, it is that bass which sticks in the mind- capable of bubbling and skipping with Jazz-like cool; stinging like a suburban viper; few others match his skills and prowess. Able to unleash reverie and delirium, you can always hear Taylor working away- inspired by the likes of Chris Wolstenholme (of Muse), Colin Greenwood (of Radiohead) and D’arcy Wretzky (Smashing Pumpkins), you hear a possible future match. If you listen to the stunning bass work of The National Anthem (from Kid A) and Hysteria (on Absolution) then you can hear they had an effect on Taylor. Elements of Flea’s best work- his performance on Coffee Shop– come out; able to be stunning and hypnotic in the harder and rampant moments- Taylor is equally assured when adding sensual swoon and tongue-licking passion. Completing the quartet is the sticks guardian, Joey Heaton. Having been in contact with him- the band’s conduit for reviews and publicity- I have been taken aback by his passion and protectiveness. You know how much the songs mean to him (and the band) and what an effort has been put in- his performances are universally potent and memorable. Especially impressive on the E.P.’s first two tracks, Heaton does not merely smash and pummel with a dead-eyed gaze- he has a talent and a sense of ambition few others possess. Capable of summoning the bare-chested power of the Grohls and Pearts of the music word- he has an ear for melody, composure and nuance. Infusing some tricky and eye-catching fills into particular moments; changing speed and course during tracks- his thoughts are always committed (to ensuring a track is) as fascinating and gripping as possible. Propelling the band and presenting his full potential; it does cause recumbent sweat. The entire band play with such a kinship and understanding- with the confidence and togetherness of a group with ten times their experience. Each song is so tight and incredible; it is a shock these four mates have been jamming for so short a time- their confidence and talents will grow as the years go by. It means you should keep your eyes focused on the Leeds quartet; a group that have a huge future- grab their E.P. as soon as it comes out. In a week that has seen one of the world’s legendary humans fall- to a horrible and lonely disease- I have been looking around for balm and reassurance; something that tells me everything will be okay- music is providing a maternal shoulder and means of distraction. Hunting around new music, you will find few acts that have such an effect- as Play Record Erase. If you are in need of lift, surprise- and songs that rouse the spirits and contort the imagination- ensure you make a date to snap up New Colour.

Still under wraps and sub rosa; the boys (and girl) of Play Record Erase are excited to unveil their debut E.P. New Colour– it is an entrancing and solid record that demands close investigation. Having formed a matter of months ago, it has been impressive how much ground (the band has covered) in such a short time. Formed from solid foundations- a shared appreciation of music and one another- that sense of unity and tightness is evident in every song. Drawing in elements of Muse, Radiohead and Pixies what you get is a fascinating and nuanced collection of tracks- signalling pure intent and heady ambition. The quartet have a lot more to do and say; you can imagine many more albums and E.P.s arriving from them- their debut signs are incredibly encouraging and prosperous. It is always terrific to see bands come through in general; so much variation and intrigue is proffered by new music’s finest- whatever style and genre floats your boat; there is something for you. With that level of competition being so high, the survival and mortality rates tend to be low. You can always tell when a band are going to fail: it may be a few years down the line; the first impressions hint at imminent entropy and decay. Those that stick in the imagination; offer something different and resonate hard- Play Record Erase are a band with a solid and defined sound. When emailing the band- particular drummer Joey Heaton- you get a sense of how much music means to them. So much work and effort has been expended when putting New Colour together- it has been a hard to get where they have; a lot of sweat and blood has poured out. It is the passion and heart that you can hear in the music- which makes their E.P. such a treat. Were the results patchy and hit-and-miss, you would feel for them- the fact they are resounding and emphatic should ease a burden from them. The band have some work to do in the future (and will look to evolve and galvanise their sound)- there is ample evidence to suggest they will go onto to do some incredible things. Just looking at some of my review subjects- like Crystal Seagulls and The Bedroom Hour- tells you all you need to know. Two bands with a similar bond and unity have managed to make some serious impressions and movements- festival dates and huge gigs. It is not luck or privilege- that has ensured this occurs- it is the quality of the music and the determination that has earned them rewards. Play Record Erase are among the hungriest and most passionate bands about- there is no logical reason to suggest they will not ascend to the same creative plains. I am sure the Leeds quartet are going to want to keep their feet planted- remain realistic- and focus on the coming months. It is clear the New Colour E.P. will gain a lot of support and acclaim- you are compelled and hooked after the first 30 seconds. What left is there to say? Well… it is great to see the university friends commingle with such a naturalness and intuitive flair- it as though they were designed to make music together. Leeds has produced another gem; it is seriously marking itself out as one of the world’s hotbeds for new music- I am loathed to formulate reasons behind this; they just have a knack for producing fine musicians. Before I conclude, I want to raise a final point: that concerns the British music scene. As I look out at artists La Roux and FKA twigs- they are just a small snapshot of what the country is producing. Both bold and arresting female talents, their music surveys love, broken relations and personal testaments- the sheer force and urgency they offer has been seducing critics and intoxicating listeners. Our bands are producing pretty spectacular results. Of course, not all animals were created equally: there are plenty of bum-note bands that are there to fill the gaps- the ones that linger in the mind are showing just what Britain is capable of. So much interesting and diverse music is being offered- by new musicians- that means the next year is going to be interesting indeed. With the Yorkshire mafia supporting its artists; making sure they get their rightful acclaim- it is hard to imagine Play Record Erase having a quiet 2015. New Colour bristles with imagination and potency; that fusion of styles and sounds- all topped off with a thick crust of conviction and passion. Make sure you snap the E.P. up- in a couple of weeks- take time to absorb the work of one of Leeds’ new wonders; a band that are keen to make some rather large footsteps- it looks like they could very well make that happen. Being depressed by the large swathes of manufactured and bubble wrap bands coming out, I always yearn to find something genuine and authentic- a group that understand the importance of a real sound and a real friendship. Do what you can to support Play Record Erase; share their music and messages (when the E.P. is released) and watch them very closely. Here is a four-piece that want to seduce and recruit (as many supporters to their cause as is possible). Make sure you do one thing…

PUT it near the top of your ‘to-do’ list.

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