Never heard The Trade before? Well, you should do.........and this is why.......
Their debut album features 12 tracks that span a brilliantly accessible world of quality songwriting, roaring indie and solid rock, all infused with a memorability and commercial sense of purpose, not to mention dynamics of arrangement, that ooze enjoyment from every pore.
Things kick off with “Fight Club” where you're immediately introduced to the distinctive, gravely vocal of singer Ross set against some shimmering guitar work as the cymbals hiss then the band crunches in as upfront bass leads the way, the twin guitars now chiming and ringing as the drumming propels it all through a rising adrenaline-rousing sea of verses that reach a climax and drop back on what is a solid song with several excellent hooks and a seriously strong opening introduction to the band. “The Dealer” chugs into life with solid drumming, tasty rhythm guitar riffing and deep bass as the lead guitar chimes out on top before Ross's vocals deliver the verse with authority and passion, a verse that then moves into the verse-as-hook part of the song as the band move things up a notch before exploding towards the end of the verse. This is then repeated for the next part of the song and at the end of this, the guitar really lets rip and a searing break heralds the band to move up even more notches as the infectious song rises to a crescendo. “20” is introduced with strummed guitar and silent angst-ridden, impassioned vocals. Then, in almost classic seventies prog-rock vein, the song completely changes direction, key and intensity as the guitar rings out and the surges ahead. The song then drops back to the original verse structure but now guitars are sparkling like stars over the delicate throb of bass and distant percussives. It moves into the hook and then stops – only for sizzling guitar riffs to be heard over upfront bass as the drums rumble in and the whole thing begins to build as the lead guitar breaks out with one stinger of a solo as the, now multi-tracked, vocals re-enter with that emotive delivery of the song's main hook. With a final flurry of drums and guitars, things die away to leave just the vocals to see things out on a dreamy final line. With a start, you're launched immediately into the fury that is “Middleman” as the almost raging vocals provide a seriously impassioned song over the stuttering crunch of the drumming, the deep bass pounding and the mix of rhythm guitar riff-as-hook and one steaming lead guitar break that, itself, leads into dual guitar riffing before the urgency of the vocal returns to provide one fiery delivery of a fast-paced slice of indie greatness. “Confused In The Pet Shop” opens with churning bass, deeply riffing guitars and one menacing vocal that then rises in pitch almost manically amid counterpoint vocals before the whole thing starts to burn in a cauldron of guitars as the band drive forward and the vocal moves back to solid form to deliver the main body of the song, one which displays a great sense of dynamics as it intensifies and builds along the way, moving in and out of a chorus that's so memorable but you'll never hear it on the radio. “Do You Want It” is a fast-paced chugger with one heck of an emotional vocal that really implores you to listen, dares you to reply. As the band rocket along on waves of ringing guitars and the lurching crunch of the rhythm section. Again, the song moves through twists and turns but, as is a trademark of the band, builds continuously, this time short, solid and powerful as it ends abruptly. “Empire (Don't Talk Back)” starts slower, this time with a more anthem feel to the vocal as it stretches out on a sea of dual guitars that slowly chime, ring, riff and range from dense to crystalline. With lead vocals set against distant vocal harmonies, the bass thuds away, things drop back, only for the drums to surge in, the pace accelerates and the whole band strides out as the vocals rage and continue to deliver this rising, fast moving anthem of a song that carries you along inexorably in its wake. As with all the band's songs, special mention should be made of the lyrics, all of which are printed on the album's inside cover, where you'll find an incredibly rich and through-provoking, often observational way of writing that is the heart of what makes the songs on this album work so well and ensure that your attention is maintained throughout. “No Fighting” is a solid, fast-paced slice of insanely catchy indie-rock with a memorable chorus, heated work from the guitarists and driving beats, and, arguably, the most obviously commercial (in terms off charts or mass acceptance) track on the album, as short as it is sensational. “Gun In My Hand” is a seriously strong ballad, as crisp acoustic guitars accompany Ross's yearning, emotive vocal that sings from the heart as a delicate lead guitar is added to the proceedings and the lead vocal, plus associated multi-tracked vocal on the verses, deliver a mesmerising song that's electrifying in its acoustic splendour and dark tranquility. “In Colour” continues the feel of the previous track only this time with electric guitars ringing out and more optimism and hope from the vocals, as the rhythm section break in and the song becomes this richly textured slice of slow-burning anthem, moving between the deceptive calm of the vocals, guitars and deep bass, and the strength and rising passion of the verse-as-chorus part of the song, all steadily gathering strength as the song progresses. “Beg, Steal Or Borrow” opens with almost Brogues-ish guitar chug as the choppy rhythms are aded, the gravelly vocal gets all bluesy on a slice of almost contemporary indie blues as a lead guitar break rings out over the verses that are already swirling in your head. The band then suddenly kick up several gears and thunder out as Ross's vocal catches fire and keeps pace, rising in pitch then falling back to provide the urgency of vocals over some steaming lead guitar work that's going on behind as the rhythm section fire things up to stunning degree, everything ending on a fast-moving fiery final dash to the finish from band and vocalist. The album ends, fittingly, with “Let It All Out”, as a squall of psychedelic guitars usher in a really emotive vocal delivery that's already letting you know that this song is going to rise and build into something very special – and they don't disappoint.
With slow drumming thunder, swirling guitars and deep bass throb, the vocal intensifies. Then the band lets rip and this massive tidal wave of guitars and rhythm section signal the vocals to intensify just as much as the song moves through twists and turns as it builds and lifts off, all the while the whole song acting as one gigantic hook, so that, even though the actual chorus sticks in your head, the whole song becomes this towering anthem of a track. It decelerates for a new part of the song, impassioned vocal heralding a new turn and promising the path to the final stretch as the band crunch in, the guitars ring out and surge ahead, as one final whirlwind of vocals and band career headlong to the huge sounding, expansive, hard-hitting and ultimately anthemic finale.
That's why you should listen to The Trade – so, go on then....what are you waiting for.........