‚ÄėNotes on a Conditional Form‚Äô, the fourth album from The 1975 has gone through a chaotic gestation period. Initially being promised as a quick-firRead More
Following on from their last offering ĎSomeone Elseí, Glasgow 4 piece Annie Stevenson have demonstrated a continuing evolution of their songwriting skills.
What is immediately apparent from the opening bars of lead-off track ĎGet Off The Streetí is the power and precision of the rhythm section; clever things are happening on the bass, the drums are tastefully unspectacular, and the guitars sound like they were actually played through real amps! Annie wisely chose a song which covered all the bases to open this 4 track EP.
However, from there on, the songwriting diversifies; ĎCountry Killerí has a haunting feel, both lyrically and in its production values. Again, clever use of that instrument often overlooked in this genre, the acoustic guitar, offers something different for the listener.
It would at this point be appropriate to note that Annie Stevenson do very much fit into a genre (quite what that genre might be called is for other people to decide, and this review is not the place to name check their influences). However, they clearly demonstrate their potential to deviate markedly from any preconceived notions of Ďindieí. The second half of this EP demonstrates this point.
ĎTV Took My Soulí hits you, the listener, in the face and then bounces around inside your head for 3 minutes. Simple as that. Certainly this will be a crowd pleaser. This time it is the infectious buzz of those electric guitars that does the trick.
This reviewer has often heard it said that it is a mistake to leave your best song until last. Stylistically, ĎIím The One You Holdí would admittedly not work as an opening track. But it is here that the band come into their own; the first verse is spacious and we are allowed the opportunity to hear the vocals in a position of prominence for the first time. Several intricacies layered underneath (a dirty little guitar part, an ethereal synth, and an understated backing vocal) mark this out as the stand out track. Then comes the chorus; with the band climbing up in volume and intensity, the vocals are again somewhat drowned out, but having established the sing along line already, thatís ok. Whoever it was that piped up ĎIíve had an idea, how about we finish this song with a plane taking off in the background sort of noise?í deserves a pat on the back; this little masterpiece disappears mysteriously into oblivion and with it the EP is over. And Iím curious to hear more. Good work lads. 7/10
Christopher Rodger did this review
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