Anchor Lane – Casino
It would have been easy for Glasgow’s Anchor Lane to open up their highly anticipated debut album with something familiar, or perhaps more in keeping with what’s expected from a sonically weighty rock quartet.
But the fact they don’t – and continue to throw different rock shapes across the ten tracks – is both a testament to the band and producer Toby Jepson’s efforts to ensure Casino is something a little bit above the rock norm.
Title wise 'Blood & Irony' sounds like a song that should come red hot and rockin' out the speakers or your digital output of choice.
It doesn't, but its unassuming, second gear pace and dinky little riff lull the listener in to a false sense of security before the band kick it up to amps at 11 for the last thirty seconds and singer-guitarist Conor Gaffney’s impassioned shouts of "you said it all, with blood and irony!"
The song’s crescendo finish perfectly sets up 'Fame Shame,' a jagged, punky, start-stop quick-fire rocker that lyrically decries the over-use of social media and the evil that is Reality TV.
There’s also one seriously feisty solo from lead guitarist Lawrence O’Brien, a player who can provide a tasty and melodic harmony line as well as he can deliver a fast-fingered and fluid run on the fretboard.
'Fame Shame' is a song that has Toby Jepson’s stamp all over it; a songwriter and producer who, as the band will readily admit, helped shape their sonic identity as well as stretch them as songwriters.
And kudos to Jepson’s production and mixing job; Casino has a huge but uncluttered sound with spaciousness where required.
While the opening brace set the tone, they certainly don’t set the Casino house rules – 'Voodoo' for example is built upon a lazy, semi-swaggering groove and 70s sounding Free-blues before the pseudo funky and choppy guitars of 'Casino' steps up to rock the talk of life’s gambles.
The title track/ album title are also a clever nod to the band’s decision to cash all their chips in for a career in rock and roll.
That is indeed a gamble but Anchor Lane is, collectively, four young heads on well-adjusted shoulders and each of the band know just what a crapshoot this can be, no matter what talent you may have.
And make no mistake, this is a talented band with already solid songwriting credentials as the heavier, contemporary blues rock of 'Clocks' and even bluesier 'Stone Cold Hearted' prove.
Ballad 'Shell of Me' provides yet another Anchor Lane shade, this time through Conor Gaffney’s lyrics of loss via a genuinely emotive vocal delivery and beautifully complementary solo from Lawrence O’Brien.
(Gaffney, in conversation with FabricationsHQ in 2019, confirmed Toby Jepson challenged him to be more lyrically open, honest and expressive. Jepson job done).
Providing contrast to 'Shell of Me' is the brash and ballsy "na-na na-na" air-punching 'Flatline' while the band’s contemporary influences (usually cited as Royal Blood, Nirvana, Soundgarden and their Foo Fighting ilk) are most obvious on the rugged and rhythmic 'Dead Run,' with bassist Matthew Quigley and drummer Scott Hanlon setting both the tone and the groove.
Lyrically 'Dead Run' touches on addiction from a hybrid lyric from Conor Gaffney and Ricky Warwick, whose distinct vocal tones can be heard adding depth to the backing vocals (Warwick also co-wrote 'Blood & Irony' with the band).
Closing out with 'Honey,' another weighty affair that channels their contemporary rock contemporaries (built on a simple but effective drum pattern with guitars complementing or paralleling Conor Gaffney’s vocal lines), Casino showcases a band that have come a long way from their New Beginning in 2017, albeit that debut EP still carries serious impact through songs such as 'Finished By Twelve' and 'Annie,' both of which continue to feature in set lists.
Given that Casino is only 35 minutes long you could argue a New Beginning re-record or two wouldn’t have gone amiss, or perhaps a place for a post-EP / pre-album number such as the slow build 'Take My Time.'
In the case of the former however there’s something to be said for keeping the EP’s original form intact (not least as a nod to original lead guitarist Jack Nicol’s contributions) while omission of the latter, or any other song, helps keep the album short, sharp and to the less-is-more point.
And the point is with Casino, the band have taken a gamble that deserves to pay off (to the) big-time.
Anchors away, boys.
Ross Muir
FabricationsHQ
But the fact they don’t – and continue to throw different rock shapes across the ten tracks – is both a testament to the band and producer Toby Jepson’s efforts to ensure Casino is something a little bit above the rock norm.
Title wise 'Blood & Irony' sounds like a song that should come red hot and rockin' out the speakers or your digital output of choice.
It doesn't, but its unassuming, second gear pace and dinky little riff lull the listener in to a false sense of security before the band kick it up to amps at 11 for the last thirty seconds and singer-guitarist Conor Gaffney’s impassioned shouts of "you said it all, with blood and irony!"
The song’s crescendo finish perfectly sets up 'Fame Shame,' a jagged, punky, start-stop quick-fire rocker that lyrically decries the over-use of social media and the evil that is Reality TV.
There’s also one seriously feisty solo from lead guitarist Lawrence O’Brien, a player who can provide a tasty and melodic harmony line as well as he can deliver a fast-fingered and fluid run on the fretboard.
'Fame Shame' is a song that has Toby Jepson’s stamp all over it; a songwriter and producer who, as the band will readily admit, helped shape their sonic identity as well as stretch them as songwriters.
And kudos to Jepson’s production and mixing job; Casino has a huge but uncluttered sound with spaciousness where required.
While the opening brace set the tone, they certainly don’t set the Casino house rules – 'Voodoo' for example is built upon a lazy, semi-swaggering groove and 70s sounding Free-blues before the pseudo funky and choppy guitars of 'Casino' steps up to rock the talk of life’s gambles.
The title track/ album title are also a clever nod to the band’s decision to cash all their chips in for a career in rock and roll.
That is indeed a gamble but Anchor Lane is, collectively, four young heads on well-adjusted shoulders and each of the band know just what a crapshoot this can be, no matter what talent you may have.
And make no mistake, this is a talented band with already solid songwriting credentials as the heavier, contemporary blues rock of 'Clocks' and even bluesier 'Stone Cold Hearted' prove.
Ballad 'Shell of Me' provides yet another Anchor Lane shade, this time through Conor Gaffney’s lyrics of loss via a genuinely emotive vocal delivery and beautifully complementary solo from Lawrence O’Brien.
(Gaffney, in conversation with FabricationsHQ in 2019, confirmed Toby Jepson challenged him to be more lyrically open, honest and expressive. Jepson job done).
Providing contrast to 'Shell of Me' is the brash and ballsy "na-na na-na" air-punching 'Flatline' while the band’s contemporary influences (usually cited as Royal Blood, Nirvana, Soundgarden and their Foo Fighting ilk) are most obvious on the rugged and rhythmic 'Dead Run,' with bassist Matthew Quigley and drummer Scott Hanlon setting both the tone and the groove.
Lyrically 'Dead Run' touches on addiction from a hybrid lyric from Conor Gaffney and Ricky Warwick, whose distinct vocal tones can be heard adding depth to the backing vocals (Warwick also co-wrote 'Blood & Irony' with the band).
Closing out with 'Honey,' another weighty affair that channels their contemporary rock contemporaries (built on a simple but effective drum pattern with guitars complementing or paralleling Conor Gaffney’s vocal lines), Casino showcases a band that have come a long way from their New Beginning in 2017, albeit that debut EP still carries serious impact through songs such as 'Finished By Twelve' and 'Annie,' both of which continue to feature in set lists.
Given that Casino is only 35 minutes long you could argue a New Beginning re-record or two wouldn’t have gone amiss, or perhaps a place for a post-EP / pre-album number such as the slow build 'Take My Time.'
In the case of the former however there’s something to be said for keeping the EP’s original form intact (not least as a nod to original lead guitarist Jack Nicol’s contributions) while omission of the latter, or any other song, helps keep the album short, sharp and to the less-is-more point.
And the point is with Casino, the band have taken a gamble that deserves to pay off (to the) big-time.
Anchors away, boys.
Ross Muir
FabricationsHQ