Rabbit Hole is good. What more can I say? Filmed in a modernistic and brightly lit Elevator Studios; it is soft but angry, uplifting but melancholic, light but dark. Brilliant. The likes of The Frames, Yarbo, and Sparklehorse are all immediately pounded into the very forefront of my mind as the songs progression drives forth. In my own opinion the majority of the chords go to the right places. The chords of the piano and guitar alike. They travel as a road does to reference Flann O’Brien. The road knows where it is going and so does every instrument in this composition.

However it is not the guitar or the piano or the bass for that matter which I find most appealing, but rather the drums and the vocals. Matthew McGurty was blessed with a voice. I don’t know whether or not it is falsetto or treble or any of those technical terms as I was always bored shitless with fancy musical terminology in Mrs Fazakerley’s music lessons, but what I do know is that Matthew McGurty beholds a huge vocal range which is expressed perfectly in Rabbit Hole.

And the drums? Having listened to a lot of jazz in the past month I am reminded of White Canvas’ drummer Adam Goldberg. I have described his beats as ‘unknown to the average music listener’ in past reviews and similarly Ben Hicktons drums throughout Rabbit Hole have a definite jazz quality to them which adds greatly to the gradual ascension of power in the piece. But I can’t single anything out too greatly. Without any one instrument Rabbit Hole wouldn’t be as good. They are all needed to capture and create the atmosphere of pace and build and chase that it does so brilliantly. Rabbit Hole. One of the better new songs of Liverpool.

Review by Joe Loftus

For more cutting edge music check out the latest issue of Unsigned & Independent


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