We use cookies to help you navigate efficiently and perform certain functions. You will find detailed information about all cookies under each consent category below.
The cookies that are categorized as "Necessary" are stored on your browser as they are essential for enabling the basic functionalities of the site. ...
Necessary cookies are required to enable the basic features of this site, such as providing secure log-in or adjusting your consent preferences. These cookies do not store any personally identifiable data.
Functional cookies help perform certain functionalities like sharing the content of the website on social media platforms, collecting feedback, and other third-party features.
Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics such as the number of visitors, bounce rate, traffic source, etc.
Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.
Advertisement cookies are used to provide visitors with customized advertisements based on the pages you visited previously and to analyze the effectiveness of the ad campaigns.
A rustic bite is polished off by sharp pop beats and gliding indie guitar pushes, as leader of The Chemists light dance and churning indie experiment, Johnny Benn bears out yearning vocal heart, through latest A side ‘A Love Like No-One Else’.
It bemoans the power of significant others to dazzle and amaze. The focused, but foraging quintet slowly builds up the searching mood, using climbing guitars and heavy pulsing percussion to allow for both reflection and urgency.
B-side, ‘Sooner Or Later’, allows the dingy blues indie demon in them to take over. There’s the merest hint that The Gaslight Anthem could have a potential rival in the dusky Springsteen revering, country tainted stakes. Also, the itchy feet exposing lyrical edge that is delivered with echoing urgency and helped along by stammering percussion, is certainly a plus point in this subversive sub three minute jaunt;
“This place is getting tired I’ve slept for far too long, I think the f*@kers know,
the f*@kers know I’m right, I smash you to the floor like I did before.”
Despite the fact that their debut album still looms murkily on the horizon like The Black Pearl, this buzzing quintet are already earning a reputation for having a flitting range and lyrical bite. On the evidence so far, their debut album looks likely to continue this favourable trend.