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AAA Music | 24 July 2019

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The Longsands -Worlds Collide

| On 03, Sep 2012


As we leave the ‘noughties behind, drifting further and further into a new decade, one all-important question seems to rise and eclipse all others: Have we had enough of Indie yet? While the answer is up in the air and a subject of fiery debate in the music world, isn’t it best to let the music speak for itself? A Time dictated by music, rather than a music dictated by time? Newcastle-based rockers The Longsands seem to think so.
The first of their two new offerings, ‘Worlds Collide’ gives as good as you can give it. Sliding into a wonderfully ethereal intro, the opening licks soaked in cascading flange, we are greeted by simple but punchy bass and drums; a sound akin somewhat to how both The Smiths and The Clash would have sounded, had they ever done a duet gig on the moon. Absurd? Just a little, but the result is truly enjoyable; the punchy bass is matched by equally punchy vocals, backed by shivery-shaky cymbal and snare work, before erupting into a smokily taut and driving sing-a-long chorus, melancholically buzzing and sparkling guitars catapulting the powerful vocal work ever higher. Energetically paced, sweeping and fun, the track plays out without losing a trace of its vigour, as the two vocalists – the stars of the track – trade interweaving lines, the track pulsing to its conclusion. Ultimately, while perhaps a little run-of-the-mill, it proves indie still has a moving bite, and is definitely deserving of radio airplay, providing a dynamic and fun sound, catching the spark of festival favourites Two Door Cinema Club and The Horrors.
The real star of the show here, however, is the truly brilliant track ‘Never Turn Your Back on the Sun’. A dystopian breeze fluttering from simple, evocative acoustic guitar work into a Liam Gallagher-esque wailing rasp, it hearkens to times past, of the brilliance of Noel Gallagher’s work, and of the more memorable moments of Pete Doherty’s. Like Doherty’s own lyrics, the poetic lines catalyse a truly rousing spirit in the listener, masterfully crafted, before the track rises into wondrously Stone Roses-like bridges, complete with gently beaming John Squier melodies. The uplifting licks lead the way through a brief break into a fantastically aqueous wah-wah deluge that Squier himself would be proud of, before another stirring chorus, drawing added bite from understated and snarling power chords, with the final vocals echoing out. It’s difficult to not overdo it with the superlatives: the whole track glows with anthemic subtlety, pervaded with a desolate passion that comes to create something that is rarely seen or heard within this crowded genre. And while it may not topple work from its own Indie Rock deities, it holds its own foothold remarkably well, making its own line in the sand. If there is any justice in the music industry (which unfortunately, thanks to OneDirection, we are constantly reminded there is not) The Longsands will be a band to watch in future. I believe they deserve it.

Matthew Fellows