The first time I played this, I wasn't too sure what to make of it. But, I played it again and started to like it. Third time around and it's starting to sink in.
It helps that the opening track, “Edit”, is a slow builder that, almost because of its stark production, has a curious kind of appeal – there's a lone guitar that chimes and rings with a sort of languid feel to it, while occasional bursts of organ-like synth add texture and depth, the rhythm section cruising along merrily. But the vocals, right upfront and clear, are what the song's all about – the singer's got a deceptive amount of emotion in there and manages to build the song as this sinuous guitar riff swirls around in your head, as the vocals seem to possess more depth than is actually the case, as the arrangement provides variation throughout and all of this keeps you hooked. Speaking of hokks, there is one, but it's more a verse that masquerades as a chorus than anything that's going to have you singing along with it. The more you play this, the more you realise just how well written, arranged and performed, it actually is, with more going on than you think, and each time you hear it, you want to hear it again that little bit more. “You Are” takes a bit of a leaf out of The Weekend Pickups with a lurching indie rocker possessing high-flying verses sung to perfection by a singer who substitutes emotion for strength, delicacy for dramatism, and provides us with a song that oozes magic as the band with a depth of chiming guitar, ringing keys and crunchy drums, just sidles along effortlessly, but to, again, high flying effect, complementing and underpinning the vocals superbly, all of it done with feeling and a really excellent song, one that, again, makes you want to hear it more, each time you play it. “Nightmare Of The Night” begins with a twangy guitar and sense of menace as a drums beats and the vocals come in and, although in brief moments possessing depth, really ache for a seriously good backing vocal, something similar to what SAZ's Nicola did for the latest Hennsi EP, and you realise that this would turn a good vocal into a great one. That said, the song and instrumental tension rises to a height, only to drop back once again, before restarting the whole process. The song itself is OK but really needs more “oomph!!”, a bit more rock and a little less roll, but that could be rectified. “Profit Maximisation” starts with the vocal right out front on top of a mid-paced ska backdrop, and is also quite engaging, this time the vocal possessing more of a croon and, although once again a good backing singer might add extra depth and strength, it's not as obvious as the previous track, and by virtue of the rhythm rather than the hook, the song rises and falls and works pretty well, although I do feel that the fact that the vocals just go on and on without any instrumental break, however brief, make it feel longer than it is. The EP ends with “Hindsight”, as yearning vocals and acoustic guitar alone, reveal a song that's as stark as it is lyrical, well told and written and, although lacking depth, manages to keep you hooked.
While this is essentially a demo promo CD, and to that effect, you have to say that it works well for the most part, but I think that quality of the recording and the performance entails this review treating it as a “proper” CD and makes a valid point about the tracks.