HAMPER: E.P.

I first heard the lead track on their website - I forget why on earth I was there, actually - but it just blew me away. The track, called "Comfort Cake", opens with a simply gorgeous, chiming, delicate guitar cascade that soars and dives gracefully as the rhythm section lays down an equally strong but also light foundation, above which the wondrous vocals of Louise Mcvey deliver the song to passionate, determined perfection, her voice a dead ringer for the woman out of 10,000 Maniacs whose name I've completely forgotten. Around one a half minutes in, the tension builds as the bass throbs away then the drums accelerate, as the guitar swirls delicately around the bottom end of the chordal scale while the vocal returns, sounding simply gorgeous. Then the guitar spirals into an electrifying lead solo that shines above the, now more urgent, rhythm section as the track achieves a kind of spectacular sunset, before it abruptly stops to leave that immaculate and oh-so-heartfelt guitar chording to see the piece out. Just fantastic, and the only thing you have to do is play it again - right away - it's THAT good.
"Green" opens with electric and acoustic guitars chiming away as the drums and bass drive forward, and Louise's voice is allowed to dominate this time, on a song that is breathtaking in its mix of strength and fragility, her voice so warm and comforting yet at the same time full of purpose as it soars and gracefully moves forward, all the time the distant electric guitar ringing out above the rumbling bass and mid-paced drums, a sort of acid psychedelic take on 10,000 Maniacs but way more addictive, on another song that immediately endears itself to you and just begs to be played long, loud and often, a song that could make you smile and cry at the same time. Superb stuff!
"On Your Way" is another mix of feelings, this time, sedate and edgy, as the rhythms almost lurch along while the guitar rings out in almost subdued angular fashion. Meanwhile, that low-range, almost husky, sultry vocal sings and shines, occasionally going higher for the short chorus lines, then the guitars shimmer and drive as the vocal becomes more cyclical, the whole effect quite hypnotic and a gem of a song. The final song, "Melancholy", is the slowest of the four, and delivers itself with a suitably fitting slowness for the first minute or so, before the band come in and the guitar rings out, gradually intensifying as the song progresses, the whole thing having a late seventies Jonathan Richman garagey sound to it, while that spirit of 10,000 Maniacs still makes its presence felt as those gorgeously tranquil and strong vocals of Louise carry the song forward. The whole thing is seriously good, but "Comfort Cake" is seriously great - a track to die for, a track that will never lose its magic, and worth the price of this wonderful CD-EP on its own. A stunning debut from a superb band.

Hamper

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