Scarlet Rebels - Where The Colours Meet
Welsh rockers Scarlet Rebels are clearly all about musical (and lyrical) colour, not just the bright red of their name (which, uncoincidentally, is also the colour of the Welsh Dragon).
2019 debut album Show Your Colours did just that in terms of its rock hues; highly impacting and politicised follow-up See Through Blue (aimed four-square at the 14 years of Conservative Government failings) was a Top 10 UK Chart success in 2022.
And now Where The Colours Meet, which leaves the polarisation of the previous album behind to deliver a broader scoped work with topics we can all relate to (love, loss, relationships, mental health and, yes, a bit of politics).
Furthermore, the band – primary songwriter Wayne Doyle (lead vocals, rhythm guitar); Gary Doyle (drums, percussion), Carl Oag (bass guitar), Chris Jones (lead guitar) – have a fourth and fifth member who more than play their studio part.
Co-producers Colin Richardson and Chris Clancy have brought out the best in the quartet, as well as made their own noticeable marks (Clancy also contributed backing vocals & piano to a number of the songs).
Opener 'Secret Drug,' featuring a clever lyric where the addictive chemical in question is your other half/ love, doesn’t musically mess about, laying down AC/DC inspired riffage and four-to-the-floor power from the get-go.
There are other obvious influences here like The Cult, but these Welsh rocking Rebels bring enough to the party to make the number, which sports a great use of dynamics and a strong chorus, their own.
'Let Me In' (a rewrite of an older, never recorded song, and feature of recent live sets) is equally muscular and riffy, which will unquestionably appeal to fans of the aforementioned bands.
There’s nothing particularly original within this tried & tested, big-beat, musical template but if it’s no-nonsense rock with a huge, infectious chorus you are looking for, it’s delivered here in Scarlet coloured spades.
The genuinely touching 'It Was Beautiful' (which lyrically looks to appreciating the past from the perhaps not as rosy present) drops the tempo and intensity (at least initially) before the rhythm section kick it up a gear to drive what is a highly memorable and melodically on-point chorus (the addition of a piano in the mix increases the widescreen vibe of a number that almost shimmers in its nostalgic light).
The song then drops back down (briefly) before repeating the huge, celebratory chorus to the end.
2019 debut album Show Your Colours did just that in terms of its rock hues; highly impacting and politicised follow-up See Through Blue (aimed four-square at the 14 years of Conservative Government failings) was a Top 10 UK Chart success in 2022.
And now Where The Colours Meet, which leaves the polarisation of the previous album behind to deliver a broader scoped work with topics we can all relate to (love, loss, relationships, mental health and, yes, a bit of politics).
Furthermore, the band – primary songwriter Wayne Doyle (lead vocals, rhythm guitar); Gary Doyle (drums, percussion), Carl Oag (bass guitar), Chris Jones (lead guitar) – have a fourth and fifth member who more than play their studio part.
Co-producers Colin Richardson and Chris Clancy have brought out the best in the quartet, as well as made their own noticeable marks (Clancy also contributed backing vocals & piano to a number of the songs).
Opener 'Secret Drug,' featuring a clever lyric where the addictive chemical in question is your other half/ love, doesn’t musically mess about, laying down AC/DC inspired riffage and four-to-the-floor power from the get-go.
There are other obvious influences here like The Cult, but these Welsh rocking Rebels bring enough to the party to make the number, which sports a great use of dynamics and a strong chorus, their own.
'Let Me In' (a rewrite of an older, never recorded song, and feature of recent live sets) is equally muscular and riffy, which will unquestionably appeal to fans of the aforementioned bands.
There’s nothing particularly original within this tried & tested, big-beat, musical template but if it’s no-nonsense rock with a huge, infectious chorus you are looking for, it’s delivered here in Scarlet coloured spades.
The genuinely touching 'It Was Beautiful' (which lyrically looks to appreciating the past from the perhaps not as rosy present) drops the tempo and intensity (at least initially) before the rhythm section kick it up a gear to drive what is a highly memorable and melodically on-point chorus (the addition of a piano in the mix increases the widescreen vibe of a number that almost shimmers in its nostalgic light).
The song then drops back down (briefly) before repeating the huge, celebratory chorus to the end.
'Grace' returns to the driving AC/DC no nonsense boogie approach, but here coupled with another huge, heavy-pop hook chorus (a trait of the album). The lyrical content is also a highlight, especially the cleverly considered "you could be my saving, Grace" sign-off.
While 'Declining' is another bright and heavy melodic rocker (off-set by a darker, autobiographical lyric from Wayne Doyle about self-doubt), it also adds to the feeling that all the same sort of colours are meeting across the first five songs, where perhaps a little more variety would have been a more musically measured approach.
However 'Out of Time' (featuring, and co-written with, husky voiced songstress Elles Bailey) duly delivers that variety through a slow build, piano introduced rock ballad on love, loss and apologies that come too late.
The sort of song that would have garnered monster airplay on US rock/ AOR radio in the 80s and featuring a melodically striking solo from Chris Jones (who shines throughout the album), Elles Bailey’s emotive and beautifully voiced parts help bring out the best in Wayne Doyle’s own vocality. Seriously impressive stuff.
Further variety comes calling in the lyrically politicised shape of 'How Much is Enough,' which sounds like Bruce Springsteen with heavier guitars (so pretty much a win-win).
That the band leave space for the lead vocal and purposeful lyric to carry the song (to great effect) only enhances this track further.
Piano backed ballad 'Practice Run' (another retooled older song) further broadens the sonic pallet.
A downtempo, spacey number with a lyric about learning from mistakes and striving to do better, 'Practice Run' features one of Wayne Doyle’s best/ genuinely heartfelt vocal performances.
The 80s rock sound of 'Streets Of Fire' has a repetitive guitar figure with delay straight from the U2 playbook and an angsty vocal that fits the lyrical profile (the state of worldly affairs) perfectly; the equally angsty solo from Chris Jones is the final, fiery, touch.
Also carrying an 80s vibe is the punky, heavy synth-pop of 'Who Wants To Be In Love Anyway,' which returns to the wall of sound and insistent riffing or earlier numbers. Another impressive track.
'Divide And Conquer' would have sat, comfortably and angrily, on See Through Blue, given its blistering lyrical attack on the ruling classes and the now thankfully ex Tory Government.
Featuring a Celtic-influenced riff and stomping boogie arrangement not a million miles away from classic Thin Lizzy (similarly Lizzy-fied is the short guitar call and drum answer), this is another standout track.
The album closes in as impacting and effective a fashion as it opened with 'My House My Rules,' a riffy, punk-influenced number co-written with Ricky Warwick (his musical fingerprints are all over this ‘un).
A thunderous finish to a thoroughly impressive album.
Criticism of the musically similar opening salvo of numbers aside (but in this streaming and personal play-listings/ pick your favourite tracks world, is track sequencing as important as it used to be?) Where The Colours Meet is an excellent album from an excellent band.
Scarlet Rebels are also champions of good causes – collecting items for food banks at their live shows; giving various charity shops across the UK early access to the album via review copies, thus offering fans the chance to purchase early in return for charitable donations.
But with Where The Colours Meet, they’ve just elevated their musical cause threefold.
Tidy.
Ross Muir & Nelson McFarlane
FabricationsHQ
Pre-order Where The Colours Meet on limited edition Vinyl, signed CD and more at:
earache.com/scarletrebels
While 'Declining' is another bright and heavy melodic rocker (off-set by a darker, autobiographical lyric from Wayne Doyle about self-doubt), it also adds to the feeling that all the same sort of colours are meeting across the first five songs, where perhaps a little more variety would have been a more musically measured approach.
However 'Out of Time' (featuring, and co-written with, husky voiced songstress Elles Bailey) duly delivers that variety through a slow build, piano introduced rock ballad on love, loss and apologies that come too late.
The sort of song that would have garnered monster airplay on US rock/ AOR radio in the 80s and featuring a melodically striking solo from Chris Jones (who shines throughout the album), Elles Bailey’s emotive and beautifully voiced parts help bring out the best in Wayne Doyle’s own vocality. Seriously impressive stuff.
Further variety comes calling in the lyrically politicised shape of 'How Much is Enough,' which sounds like Bruce Springsteen with heavier guitars (so pretty much a win-win).
That the band leave space for the lead vocal and purposeful lyric to carry the song (to great effect) only enhances this track further.
Piano backed ballad 'Practice Run' (another retooled older song) further broadens the sonic pallet.
A downtempo, spacey number with a lyric about learning from mistakes and striving to do better, 'Practice Run' features one of Wayne Doyle’s best/ genuinely heartfelt vocal performances.
The 80s rock sound of 'Streets Of Fire' has a repetitive guitar figure with delay straight from the U2 playbook and an angsty vocal that fits the lyrical profile (the state of worldly affairs) perfectly; the equally angsty solo from Chris Jones is the final, fiery, touch.
Also carrying an 80s vibe is the punky, heavy synth-pop of 'Who Wants To Be In Love Anyway,' which returns to the wall of sound and insistent riffing or earlier numbers. Another impressive track.
'Divide And Conquer' would have sat, comfortably and angrily, on See Through Blue, given its blistering lyrical attack on the ruling classes and the now thankfully ex Tory Government.
Featuring a Celtic-influenced riff and stomping boogie arrangement not a million miles away from classic Thin Lizzy (similarly Lizzy-fied is the short guitar call and drum answer), this is another standout track.
The album closes in as impacting and effective a fashion as it opened with 'My House My Rules,' a riffy, punk-influenced number co-written with Ricky Warwick (his musical fingerprints are all over this ‘un).
A thunderous finish to a thoroughly impressive album.
Criticism of the musically similar opening salvo of numbers aside (but in this streaming and personal play-listings/ pick your favourite tracks world, is track sequencing as important as it used to be?) Where The Colours Meet is an excellent album from an excellent band.
Scarlet Rebels are also champions of good causes – collecting items for food banks at their live shows; giving various charity shops across the UK early access to the album via review copies, thus offering fans the chance to purchase early in return for charitable donations.
But with Where The Colours Meet, they’ve just elevated their musical cause threefold.
Tidy.
Ross Muir & Nelson McFarlane
FabricationsHQ
Pre-order Where The Colours Meet on limited edition Vinyl, signed CD and more at:
earache.com/scarletrebels