By The Subways
'Oh Yeah' represents everything that is thrilling about The Subways; their beauty, youth and passion all rolled into just under three minutes of loud, racy punk rock. Maintaining a catchy, poppy sound with its simple but effective riffs and sing-a-long lyrics its hardly sophisticated stuff but it doesn't need to be. The Subways do not try to be something that they are not, but rather capture the vibrancy of their youth, thrive upon it and ram it down our throats, hardly giving us time to catch our breath. Opening with fierce pounding, drummer Josh Morgan drives the song from beginning to end with an incessant beat that never lets up. The grungy guitars and dirty bass seem to mesmerise and promote their sense of urgency, along with the throaty blaring of Billy Lunn's vocals, yelling "Have you ever seen the light? Don't you wonder where I hide?" in such a way that succeeds in blowing me away at every listen. He demonstrates such a level of raw emotion as he sneers his way through the song that it provides a whole different soulful element to the otherwise punky sound of 'Oh Yeah'. If this is not a true rock 'n' roll voice in the making I don't know what is. Girlfriend/ sassy bassist, Charlotte Cooper, neatly offsets Billy's powerful howl with her distinctive backing vocals and though she may derive most attention for strutting around in short skirts, exciting the vast majority of red-blooded males more with her figure and blonde hair than her musical abilities, she proves herself here to be so much more than the token female bassist hired purely for decorative purposes. Whilst, ok, I don't think her voice would be strong enough to stand alone, when combined with Billy's it clearly adds something to the magic and the lustful nature that is The Subways, allowing the young lovers to feed off one another's feverish enthusiasm and thus creating a truly exciting sound.
B-side, 'Take Me Away' is just as worthy of praise. Taking on a much darker, grungier sound, with Billy's vocals, though still amazing, hardly recognisable as those as the force behind the previous song. Everything else is still there, the thrashing drums and throbbing guitars and so, though captivating a quite different sound, indeed it's more Nirvana here than The Von Bondies, it is almost equally as stimulating as 'Oh Yeah'.
Already suitably hyped with Micheal Eavis and Zane Lowe citing themselves as self-confessed fans it seems this could well be the year for The Subways, with this, their first release on major-label City Pavement/ Infectious, set to expose them to their biggest audiences to date.