THE SAME DIFFERENTS - IT'S ALL LIFE E.P.

Four track, 14 minute EP from the multi-instrumentalist Paula Knight and you have to hand it to her - she writes some pretty darned stunning songs in what you'd call a solid, indie-meets-poprock vein. It's so easy to be swept along by her addictive songs, with both verses and choruses the sort of thing that really make your heart sing and feel that life's not so bad after all. Apart from the electric bass, everything is played and sung by Paula, the bass work courtesy of cohort Richard. The songs are so accessible and yet the sort of thing - like any classic rock-pop song - that you can play over and over again without ever tiring of them. On the title track, her arrangements are both direct and intricate, with her high-register vocal as pure as anything and the glorious multi-tracked harmonies positively soul-stirring as the solid rhythm section drives the song forward, guitar riffs more about filing the sound out while the wondrous vocal soars over everything. A brief mid-section duel of wah-wah guitar and funky bass leads back into the song as it flies ever onwards, ending in yet another twist that sounds so right, on a song that you'll play and play.
Next up is "The One", this time with added synth to fill the sound out a bit more, but largely revolving around the same musical axis as before, this time slightly more complex as the vocals cruise through the mix with the structure veering between flowing arrangements that suddenly lead into a cascading section as the vocals soar upwards. The bass and lead electric guitar burst is just right as the main focus is, once again on the song, this time not one with an obvious catchy hook, but still one that you just want to hear over and over again.
"Wasted" enters on vocals, sizzling rhythm guitars, acoustic guitar, vocals, background vocals and more distant rumbling bass as a kind of rock ballad unfolds, only a lot more stripped down to give it more of a commercial indie feel than anything associated with rock. Again, Paula's vocals just surge through the track to exquisite effect as the song keeps you're attention, albeit without a hook or regular chorus, but also with a spiraling guitar solo mid-way.
The E.P. ends with the classic urgency and commercial addictiveness that is "Lady Of Rage", a song whose riff, vocal work and structure swirl around your head and stay there for ages after, almost defying you not to repeat play it every half hour just so you can get your fix of it. A belter of a multi-tracked set of verses also act as the chorus and it's all backed with some stirring work from electric guitars, booming bass and programmed drums, a wicked mid-song guitar solo just the spectacular icing on the cake of a truly stunning song. Overall, this is indie-fied pop-rock of the finest variety and I recommend it most highly.

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