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RYECATCHERS
Here's a track-by-track rundown of the album:
1) Morning After - This song was actually written several years ago, and was even kicking around when the first album was put together in late 2000. It sort of heralded a change in direction for the group, as the sound is a bit heavier and more rock-oriented than on much of their previous "power-popish" material. In addition, the production is more sophisticated, with sound effects and loops being used to a larger extent than in the past. The song boasts some fantastically hoarse vocals from Dan, as well as a majestic slide guitar bit from Mark, which gives the song a bit of an "epic" quality. It's the first of several compositions on the album co-written by Mark and his cousin, outside writer Ian Newbery.
2) Throwing Away What You Steal - Certainly the loudest, most energetic track on the album, 'Steal' is a bitter breakup song that works extremely well in a live setting. The recording here captures the energy of the Ryecatchers live shows, with the song building to a frenetic climax at the end of the song. Of particular note is Gary's drumming, especially his wild kick drum work during the double-time section, as well as the stinging guitar parts throughout the song. Dan also turns in another great "rock 'n roll' singing performance. The video for this song was recently featured on the nightly Canadian music program, Zed, on the national television station, the CBC.
3) In Other Words - This cynical, moody send-off to all of the doubters out there is a definite standout, its sweeping dynamics making it a truly gripping listen. Paul ably handles lead vocals on this track, revealing that the group has two lead vocalists of considerable talent. The distinctive drum pattern in the verses is a nice touch, as is the otherworldly sound effects (especially in the middle eight).
4) Don't - A biting, sarcastic message to several unnamed individuals (you know who you are!!), 'Don't' is one of the album's catchiest songs. The guitars are pretty hot on this track, especially when the heavy guitars kick in during the first chorus. The "don't know, don't care" refrain at the end is pretty darn good too.
5) Walk Away - Although it took them a while to finally record this great tune to the group's satisfaction, 'Walk Away' was worth the time and effort. It's one of the album's standout up-tempo rockers, another bitter track with fantastic playing - the group sounds really tight here, even holding it together during the freak-out section after the middle eight. Great guitar parts, excellent harmonies, amazing drumming...this track has a bit of everything.
6) World's Apart - This track sounds a bit like some of the songs on John Lennon's 'Primal Scream' album, a slow, piano-based ballad with a nice melody and a distinctively dry, "deadened" drum sound. There's some nice slide guitar on this track too, and Paul sings lead again, showing that he can use the lower range of his voice to great effect.
7) How - Another Paul song, 'How' is a catchy, up-tempo semi-punk tune. The sound effects are very interesting as well, especially during the middle eight section - it really is the icing on the cake. The song has a "surprise" ending, with the song unexpectedly cutting off in what sounds like a calculated digital error. Pretty cool.
8) Slow Down - A powerful, well-arranged mid-tempo ballad, 'Slow Down' is probably the best sounding track on the album. Indeed, the song sounds absolutely HUGE, especially when the chorus kicks in. The track is also notable for the appearance of a cello - the first time a "session" player has been featured on a Ryecatchers song.
9) London In My Eyes - Considering the fact that cousins Paul and Dan are both originally from England, it will come as no surprise that British sounds and themes play a large role in Ryecatcher music. 'London In My Eyes' is certainly no exception, being partially inspired by the band's first tour of England in 2000. It's a vaguely New Wave-sounding track, with the distinctive guitar part owing a partial debt to War-era U2. Be sure to check out the Darkness-style dual guitar solo too!
10) Was It You - This song is another crowning achievement for the group. It's a good, catchy song written by Dan, with a nice melody and a good hook, but the big payoff occurs after the second chorus. In a musical section somewhat reminiscent of the second side of the Beatles' Abbey Road, a cello enters the fray while a tubular bell plays a nice counter-melody. The sound gradually builds to a dramatic crescendo, finally ending in a most unexpected (yet welcome) fashion. Wow!
11) I Don't Watch TV Anymore - A very catchy tune of Dan's that sounds a bit like an early 1980's New Wave tune - but minus the tinny 80's production that plagued that particular era. This song is also notable for its lyrical content, which very succinctly sums up the mood of the troubled post-September 11th world. The song also boasts a creative ending, with the sound gradually degrading with each turn of the TV dial, eventually segueing into 'Who Was I Before.'.
12) Who Was I Before - Another mid-tempo "epic," 'Who Was I Before' is a very personal song of "innocence lost" that also has meaning on a larger, more political level. It's a very deep song; lines such as "I was gonna change the world, but I changed my mind instead" have meaning on several different levels. However, it's also pretty catchy, boasting a big sing-along, lighters-aloft chorus that would sound great in an arena setting. And just when you think the song is over, the band lunges head-first into a dramatic Who-style ending, with an amazing bass line from Paul, as well as some great drumming from Gary. Extra bonus marks for the nice harmonies and Dan's lead vocals, as well as Mark's Coldplay-style chiming guitar part in the verses.
13) Tease - 'Tease' is a funky, Motown-style party tune that has long been a staple of the band's live show. It's a song guaranteed to get the girl's dancing, and this recording manages to catch the party atmosphere the song generates in a live setting. Of course, recruiting a large choir of friends and fans to sing the chorus is bound to create a lively atmosphere, as is the addition of a horn section (and a nice arrangement to boot!). Paul's Smoky Robinson-style falsetto really makes the track click, as does his boogie-woogie piano part at the end. The song may have started off as a private joke, but it has become one of the group's best tracks, and has been featured on the hit TV show Cold Squad, as well as CBC's Zed program.
This is a Canadian band that could easily be described as "Oasis with much more diversity", and I mean it as a compliment! Had they appeared sometime in the first half of the '90s, they would've blown away every single Britpop band on their way. A combination of the moddish logo and the distinctive American sounding name, clearly describes the sound that blends British melodies and the powers of pop from the North American continent. In the Gallagher rock-department, there's "Centre of the world", one of those stadium-sized ballads, then the 'Catchers plug out their guitars for a gentler rendition of "Waiting for the Moment", which sounds like an unreleased B-side, you know those with Noel sounding so beautifully personal in an extremely melodic way. "Blown away" comes out like Liam fronting Ocean Colour Scene in a MODern freakbeat number with Foxy Fowler's hands full of cool maracas and tambourines that just won't let you stand still. "Things in the way" sounds like a mannish interpretation of the Sundays' classic "Here's where the story ends" adding some of it's own (rye) catchy spice, "Something sincere" is a pop jewel with the guitar line that makes it "slide" into your heart right from the start and whoever Lisa is, we should be thankful for inspiring the band to write the piece of guitar pop brilliance called "Forever (for Lisa)". The album highlight, "Opportunity knocks", is what you get at the very beginning, and it comes in the shape of the perfect blend of mid'60s melody and a contemporary sound. Considering the facts that this is a self-released, self-produced album by the self-managed band, this is an underground classic, which deserves to be sky-high over the ground.
- by Obradovich Goran, Popism