The Contrast have refined their sound some and made it even more their own in their third album, the newly released Fade Back In. As the band grows ever tighter as a playing unit, and prolific lead singer/songwriter David Reid grows more comfortable at the mike, producer Andy Hawkins has chosen to punch up the vocals some while capturing the rocking sonic mix of guitars and harmonies that is The Contrast. Hailing from the East Midlands (Peterborough, to be more specific), this quartet produces a sound that calls to mind many bands that have gone before (among them the jangly Rickenbackers of The Byrds, the sonic guitar force of Bob Mould in Husker Du or Sugar or as a solo artist, the guitar-swathed vocals of early R.E.M., the poetic moody rock of Television, the swagger of many a raw garage band, the anger of a younger Costello or Jackson or Parker), yet they remain true originals, carving out a sound that is distinctly their own. Gone are some of the jazz/blues leanings from the latter part of their previous release (Wireless Days), replaced now with some retro psychedelic influences. Overall, Reid has said this is the bands' "most focused and direct stuff" and I'm inclined to agree. Fans of The Contrast's sound will be very pleased with this new collection, and it's a great starting point for those eager to hear what Reid and his music are about. The band plays with familiarity and infectious energy, and that fun translates well to the finished product. Comprised of Rickenbacker maestro Reid, Spencer Hart on harmonies and guitars, Richard Mackman on bass and James Crossley on drums, The Contrast are the musically brash angry young men we'd all like to be, honest, punk, pop and self-deprecating in a witty way. "Give Me One More Chance" opens aptly enough with ringing guitars that open into a solid Crossley beat. It's a tale of a guy asking for a second chance, but structured in such a way that his ardor chills from verse to verse. He's less eager it seems by this second verse: "I don't believe you when you tell me you never gave me up / I know you don't have good allegiance and all your ethics suck / I'll be somewhere in the background just watching you screw up / I will call you when I can if you give me one more chance." The middle bridge solo features a fine Byrds-like guitar lead, backed by superb bass work from Mackman. Many of Reid's songs are beat driven and the infectious "George Zipp" is no exception, sporting a strong rhythm of equal drums and guitars. This is a tale of post-altercation friendship (or the questioning of it), as one chides another's actions and desires: "On the floor and raving / I'm not sure if you're worth saving / I can't give you the love you're craving / Don't ask me to try." Reid's confidence with the guitar is apparent on these songs - he's in control of every note and very in sync with his bandmates. One of the strongest offerings here is "Forget It," another tale of disenchantment and fatal inaction, giving in to giving up on another: "You may as well look the way you do 'cause the wind will never change / You may as well say whatever you like 'cause you know you were always strange / Did you dye your hair - did you think I care?" "The Guilty Party" is another infectious number, rife with harmonies and guitar hooks, quiet moments and lyrical censure. I'm not sure of the precise reference here, but seems like you can't turn on a television without confronting some "ecstatic guilty party" parading before you. Reid and company go psychedelic retro on "Catch The Spark," complete with fuzz bass. This is a call to action, a warning of impending doom in the face of the current state of things: "The devil's right outside my door / the mist is thick, it's a real downpour / I just threw my TV at the wall / We've got to hit the ignition / try to catch a spark / We've got to hit the ignition / before it all goes dark." The psychedelic vibe continues through to "Your Starring Role," a lyrical bombardment chastising one whose fifteen minutes of fame is underway with paper thin friends, plenty of senseless personal changes and empty hopes: "You are a controlled explosion / Firing repressed emotion / Inventing new self-doubt that's closing in." On his previous album, Reid offered up a "Drop Dead Gorgeous Love Song." Here we get his "Functional Punk Pop Song" - and it's that and then some, embracing the energy and anger along with the tuneful fun. Kudos to Crossley, who manages to really propel this short tune far beyond functional. And speaking of drop-dead gorgeous, I can't say enough good things about the chillingly spare ballad "Something Tells Me." Reid's halting voice and sweet guitar take center stage, and you're not likely to find a more emotionally honest reading anywhere. With humor, insight and love, Reid sings of a delicate friendship gone wrong, someone formerly strong who has turned wrong and isn't likely coming back. Reid doesn't often slow down and open up like this, but when he does it becomes musical poetry, haunting and memorable: "and the best thing is the worst thing / when you're outside singing dreams in the rain." The swift, hard-hitting "Flatpacked" condemns one who doesn't seem to get it, and features some nice guitar lead flash and more of what has come to be that recognizable Contrast sound. Those seeking more punk/pop flavors (and some more fine bass work from Mackman, as well as some organ from Andy Hawkins) will enjoy "Smart." It's all upbeat fun here, savvy harmonies and self-deprecation from one "with the brains" yet not very smart. "Everything Seems To Get To Me" is another short catchy gem, the melody and harmony camouflaging the topic matter about a man at his wit's end: These tell-tale signs are flashing / it's dangerous for me to start to think / my head will explode if I don't listen to the static on TV." There is no drop in quality (or energy) from the first track to the last. The CD closes with "Disconnected," which spotlights the group's knack for nifty harmonies and leaves you wanting more. David Reid continues to grow as a talented artist, harnessing cultural and musical influences and creating fun, vibrant songs that bathe in a multi-layered jangle of guitars. As stated above, I'm additionally pleased by two other developments: that he's letting his vocals come through more and that the band is tighter than ever. Fade Back In builds on the promise of the previous two albums from The Contrast, and delivers more of that consistent sonic sound that has become uniquely their own. Arguably their best yet, this solid new collection should become a fast favorite of many for the summer months ahead.

A rather threatening David Reid opens the set with forthcoming album title track "Mystery#1" and anyone here expecting a rather sterile live rehearsal for the tour are startled by the rawness and power straight from the opening riff. This is gonna be loud. Straight into "She's Been Here Before" and he has the crowd. If we could buy the single as easily, The Contrast would be top 20. New song "Mask" follows. The instant chorus belies the underlying themes of deceit and contradiction played out over the huge back line. Which is why we're here, of course. "Perfect Disguise", a perfect single, is nearly scuppered by the prolonged and downbeat e-bow fade out but the mood is brilliantly revived with the colossal bass riff of "Falldown". The punk that never really left Richard (Angus) Mackman escapes now as he leaps, snarls and kicks the monosyllabic refrain from mid-set obscurity to full-set highlight. "I Can't Stand the Light" is the band encapsulated in an instant pop frame. Reid's full frontal vocal and jangly Rickenbaker duel with talented new recruit Spencer Hart completes the classic three guitars and drums rock 'n' roll line-up. The mood darkens with Reid taunting the chattering wallflowers with You Never Listen after whimsically threatening to entertain us with an acoustic song without apparently possessing an acoustic instrument! The depth and strength of the song catalogue is seemingly endless and the final two songs, "Remember" and "Short Term Memory" (probably paired here tonight in the unlikely event that top billers DNA Dolls could steal the show) shatter the idea that we're just watching another The Contrast show. This is the first night, right? The huge bass and drum unit powers through the impossible screeches emanating from the front of stage as Reid hurls his guitar, first into James Crossley's crash cymbals and then into the ground before walking offstage, leaving behind shrieks of feedback and cries for more. Coming soon to a town near you.

"...The Contrast rawk too, like Husker Du inter alia, though a glimpse of a plummy accent gives away their perfectly shocking secret that they're actually from Peterborough."

The idea of an East Coast jangle pop band emerging out of the distinctly un-beautiful surroundings of suburban Peterborough jars more than a little, yet The Contrast are exactly that; three young men with distinctly English names (James Crossley, David Reid and Richard Mackman) and one whose name implies he might just have emerged from San Francisco - Spencer Hart. It’s plain that when The Contrast look out of their windows they don’t see an expanse of grey concrete, rather, they see the clapboard structures of Georgia; this allows ‘Can’t Stand The Light’ to sound like Elvis Costello fronting R.E.M., and the remainder to bring to mind long lazy evenings spinning discs on a Victrola on the back porch. There is a defiant seam of Anglicana here though; imagine what the class of ’79 might have come up with had they spent their formative years listening to The Byrds and Crosby, Stills & Nash rather than Prince Buster and Otis Redding. It’s an intriguing possibility and an accomplished album.

A little left of center from the usual hard-charging pure pop slingers that
inhabit the Rainbow Quartz roster, The Contrast are more bohemian than
mop-top. Guitars definitely jangle, but the band performs like someone who's
just gotten roused out of bed and cant be bothered with brushing their teeth
or combing their hair. Singer/songwriter David Reid lurches around the room
like Jakob Dylan's baby brother while his cohorts pull jagged riffs out of
their electrics as if suffering from drug withdrawal. Needless to say, the
approach gives their music a trebly, nervy edge, none moreso than on the
track "Late Train" "I was standing in a call box/Counting my loose
change/When 25 dead memories said/It's good to be strange." Affixed to a
backing that sounds like a cross between Peter Gunn and The Replacements'
"The Ledge," is the album's highlight and clear proof that these English
dole queue sign-ups have more up their sleeves than the Roger McGuinn chord
book.

Peterborough is renowned for… well, nothing really. Not until now, and not unless it’s been relocated to Georgia, two unlikely propositions made flesh by the emergence of The Contrast. The Rainbow Quartz label is renowned as the home of a slew of power-poppers and roots rockers such as Myracle Brah and Cotton Mather, and is the natural home for The Contrast; ‘Can’t Stand The Light’ fits neatly into that particular box, evocative of Elvis Costello fronting R.E.M., or Weezer’s Rivers Cuomo helming a Replacements reunion. It’s sterling stuff, and heartily recommended.

Although the group plays all the familiar power pop elements - jangly guitars, effusive melodies, a reverence for all things retro - The Contrast takes its musings a step further in moulding its sound. Opting for an approach that’s more than mere ear candy, the band also rely on words and texture to give its music extra depth, a well considered dynamic that brings a resiliency beyond immediate gratification. In fact, The Contrast’s style reflects its name; on songs such as the title track and “Independance”, the juxtaposition of subtlety and aggression heightens the drama to create an indelible impression. At times, the band sounds like a less severe Elvis Costello, with hints of the Police (listen especially to the atmospheric opening to “Publicity Stunts” for comparisons to “walking on the Moon”) and the Jam. Mostly though, they establish their own signature style, with “Perfect Disguise”, “Falldown”, “Remember” and “You Never Listen” affirming an ability to lay down an insistent groove, while “Mad Professor” and the lovely “Friend for a Day” display the occasional emotional embrace. It’s that skill and tenacity that makes Mystery#1 so revealing.

Solid Rickenbacker punctuated
pop from this UK based outfit. Plenty of harmony and chime typical of
Rainbow Quartz acts that certainly deserves a shot on commercial radio and
should/would do very well in cities large enough to feature some on-air
variety. Live dynamics undoubtedly drive these crafty tunes into a frenzy.

The Contrast has so far received much acclaim but little notice for its clean, sleek guitar pop, but hopefully Fade Back In will alter that situation. Leader David Reid and his crew don't bother with gimmicks, guest stars (other than an endorsement from Little Steven) or anything that will pull attention away from the music. As well they shouldn't—tunes like "The Guilty Party," "Flatpacked" and "Catch the Spark" stand quite well on their own considerable merits. This should be the record that catapults the Contrast to at least cult stardom.

The Contrast offers up a lot with this ambitious first major release Mystery #1, only now getting North American distribution, two years after its original UK debut. The best way to describe the proceedings is this: Tom Verlaine meets Tom Petty, infused with the lyrical anger of a younger Elvis Costello or Joe Jackson -- oh, and there's plenty of jangly Rickenbackers as well.

If that sounds good to you, read on. The Contrast basically is the name adopted by creative force David Reid, who writes the songs, sings them, plays guitars and often bass as well. Rounding out the Peterborough trio are James Crossley on drums and Chris Corney lending bass and backup vocal support on a majority of the tracks.

Andy Hawkins (Blind Idiot God, Midget) knows a thing or two about powerful pop/rock and ably handles production, engineering and mixing on these 14 songs. While much succeeds here, not everything does -- but the large volume of choice more than makes up for it (there's a healthy 47:40 of music here). Me, I'm a sucker for both jangly Ricks and musical tales of woe. The jangle really shines most on three superb tracks. "She's Been Here Before" (the UK single) is an infectious jaunt of a pop song and much to this listener's delight, sports layers of guitar sounds. "Turn Off the Sun" is yet another guitar-driven pop gem, with a deceptive upbeat sound that runs counter to the antisocial lyrics: "I don't want to see the sky 'cause there's nothing I care about / Nothing that makes me cry / But I've got a crazy feeling / I've been lying to myself all along".

"Perfect Disguise" (the CD opener) completes this pop-gem trilogy, and who can find fault with such lines as "You pulled my world apart / You made an art of screwing up everything". While those three songs might be reason enough to like this album, there's much more to recommend. The title song "Mystery #1" is an interesting study in obsessive paranoia within the context of a failed relationship, echoed by powerful guitar lines. "Short Term Memory" is a battle between vocals and guitars to describe another failed love: "There are too many letters in the bags under your eyes".

"57" is my favorite of the pained failed relationship songs here. More of a ballad, the vocals really convey the anguish of trying to figure things out, the shoulda woulda couldas of what went before and drinking to forget: "It's been 57 hours since I lost you / Right now I miss you so much my head will explode". "Bad Dreams" also manages to capture the existential angst of being stuck without direction, offering the easy excuse of the plaintive cry: "Bad Dreams Come True". "You Never Listen" is another catchy one, trading off angry energy with familiar sounds from the past. "Mad Professor" serves up a slower tempo tale of the sad sack professor (e.g. I'm the mad professor of late night bars or of bad ideas) who screws up in spite of his education. Similarly, the slower pace of "Independance" shows that Reid and company can change the pace and still succeed -- there's plenty of space between the drum beats and the vocals here, and it works well in the context of this oblique examination of the difficulties encountered as an independent band. However "Publicity Stunts" seems to follow a similar formula (perhaps with a little more of a Tom Petty sound) -- and as such, takes away from the strength of the previous song (one or the other would have been better served without the other). Guitars drive the tune "Remember", which seems very much like some vaguely recalled song from the late 1970s or early 1980s, familiar yet not distinctive. "Falldown" is fueled by energy, but this repetitive song really doesn't distinguish itself as anything unique. The simple arrangement of the closer "Friend for a Day" is a sweet quiet consolation, telling this friend: "Don't be sad / We still have Paris".

Reid shows a lot of promise, mixing many shrewd influences from the past into a wonderful collection of guitar-driven power pop with more hits than misses. This polished performance sounds anything but a debut. He knows his pop, can write a catchy chorus, and has the ability to create guitar hooks that grab you. His lyrics are wry and bleak and often smart and surprising (and yes, words are included in this package that also has some very nice design by Sharon Reid).

Mystery #1 is a good CD made better by the fact that it is one very impressive initial effort. Polish, energy and attitude combine with subtle touches that make it work even after many listens. Hearing it made me eager to know more about The Contrast, and made me want to hear more. As such, the delayed distribution that only brings this music stateside now is a mixed blessing. While this music is new to North America, Europe and Australia, it is two years old. Apparently Rich Mackman of The Vow and Spencer Hart have joined The Contrast and David Reid and company's new lineup has just finished their follow-up release. A single entitled "Cant' Stand the Light" from that new CD should be released in the UK this summer and I can't wait to hear it

THE CONTRAST Wireless Days (Rainbow Quartz)With a name like The Contrast,
the first thing that goes through your head is "in contrast to what?" Well,
if we're talking about contrast in relation to what dominates the music
charts today, the name certainly fits. There ain't no friggin' boy band
blandness, hip-hop or nu metal happening here. What you do get is a very
pleasant diversion with shimmering, catchy pop songs that recall Fables-era
REM which will grow on you with repeated listens. Standouts include the
title cut, "Mask" (which Little Steven has been playing on his Underground
Garage radio show) and the obviously titled "Drop Dead Gorgeous Love Song."
Sure to become a summertime fave.

Wonderfully melodic guitar pop. Based in Peterborough, UK, The Contrast is
led by David Reid...a young man who truly knows how to turn a tune. The
compositions on Wireless Days are chock full of thick guitars and super
smooth harmonies. The band's music recalls a wide variety of artists from
the 1970s on through to the present. Image-wise, the band is impressively
normal looking. (They appear more like college students than rock
musicians.) Reid has a remarkable voice. In some ways he sounds like a
softer, more contemplative Paul Weller. The band is rounded out by James
Crossley (drums), Richard Mackman (bass), and Spencer Hart (rhythm guitar,
backing vocals). Together, these four gentlemen produce impressively sincere
and mature pop that is instantly memorable and sticks in the head like glue.
The melodies are exceptionally strong...and they are supported by
arrangements that perfectly fit the songs. The result...is an album that
will hold up to dozens and dozens (hundreds perhaps?) of repeated spins. The
first features one quick moment that will, inevitable, have everyone
reaching for their stereo (or computer) to try and fix the problem--but it
works, a great little production trick (!). Twelve luscious tunes here
including "Can't Stand the Light," "Fortune" (particularly great), "Charlie
Grey," and "Elvis Fix." Exceptional pop delivered with integrity and just
the right amount of polish.

The Byrds were the quintessential folk-rock group, adding shimmering guitars
and other amplified aspects to take care of the latter part of the equation.
Many current guitar pop bands follow in The Byrds' 12-string fretsteps, yet
often remove the folk essence. Thanks primarily to frontman David Reid, The
Contrast bring some of the folk back in, though not by composing songs
reminiscent of Pete Seeger and Bob Dylan. Instead, Reid's own compositions
often have certain melodic turns that sound to me like some of folk-rock
stuff I dug in the '80s. Two performers who come to mind when I hear The
Contrast are T-Bone Burnett, who many of you might know more as a producer,
and Chris Hickey, who almost none of you will know (he was also in the band
Show of Hands with Randell Kirsch, if that helps).

Regardless of whether you know the '80s Burnett or Hickey catalogues, trust
me when I tell you that evoking them is a very, very good thing. Part of the
reason that those two names come to mind is that Reid shares a vocal tone
with both of them. It's a voice with a limited range, but it's very inviting
and sincere.

And it's a voice with enough power to keep up with his colleagues when they
pick up a head of steam. The band plays with a stalwart intensity at times,
giving songs tension and drama. This comes out in spades on "Cover", where
the band creates a slow moving desert rock cyclone that contains slashing
guitars, forceful dynamics and a rhythm section that is always moving
forward. The searing music supports white hot invective. If anything, this
could be a lost Eleventh Dream Day track.

While pithier and poppier on "Mask", the lyrics provide a cutting edge: "I
thought you were tall/you were standing on the wall/with a mask stuck over
your head/I thought you were clever/but you sold me down the river/and now
everything is turning bright red." The monotone bouncy verses go right up a
melodic ramp in the chorus, while the guitar interplay between Reid (playing
the leads) and Spencer Hart (on rhythm axe) is effortlessly compelling.

The band succeeds at the slow burn on "Charlie Grey". Conjuring up an
atmosphere that smacks of the Evil Twin of Buffalo Springfield as portrayed
by the Grip Weeds, the band does an excellent job in the verses of using
sonic space, so each ringing guitar note makes things all the more ominous.
Lyrically, the song seems to be some sort of Brit Poe thing -- is Charlie
Grey some model of perfection that the singer is trying to distance himself
from? Or is he, as I suspect, the singer, who has done something (and
somebody) wrong, so he "drank a whole bottle of scotch last Friday/now I'll
never be O.K." Musically, the band again shows that it has perfected
building tension and releasing it with melodic aplomb.

Indeed, melodic aplomb is strewn throughout these songs. The mid-tempo
"Fortune", a constructive criticism character study, doesn't have one main
hook, yet has four or five incredibly memorable aspects, from Reid's lead
guitar part to the winding melody of the chorus that burns in the brain. The
Contrast can even do chirpy, as "What You Want" is sounds like a Richard X.
Heyman ditty with added coats of melancholy and bitterness (sample -- "this
house is haunted/just like you"). The Contrast has been around a while, and
hopefully their affiliation with Rainbow Quartz will expand their audience.
They certainly have all the requisite '60s reference points needed for the
label. But what makes them all the more special is they have a very distinct
personality supported by intriguing lyrics.

Attention gents: I would like to take this opportunity to inform you about a
musical phenomenon called "The Costello Effect." Named for its originator,
Elvis Costello, this effect refers to the ability that certain bands have to
make your girlfriend utter phrases such as "I love that song" and "If they
ever come here, we have to get tickets." Your girlfriend is going to love
The Contrast's Wireless Days: the jangly guitars, mellow pop vocals (with
just a hint of melancholy) and song titles (like "Drop Dead Gorgeous Love
Song," all show The Contrast to be fully capable of inducing The Costello
Effect. As with Elvis, their style hints at '60s era rock, maintains a
college-radio-friendly sound and restrains the rock 'n' roll just enough to
make some really pretty songs... And I mean that in a nice way. Gentlemen,
there are only two ways to deal with The Costello Effect: you can retreat
into fear, insecurity and resentment, or you can wise up and realize that
your girlfriend probably has better taste than you anyway.

Two excellent new releases from the Rainbow Quartz label (distributed by
Parasol Records) are the re-mastered The Sound Is In You by the Grip Weeds
and Wireless Days by the Contrast. The Grip Weeds' disc features several new
tracks, and the re-mastering has improved what was already a "classic pop"
disc from this Hoboken, New Jersey-based band. Fans of pseudo-60s pop
(Buffalo Springfield, the Who, the Byrds, etc.) will definitely enjoy the
new and improved The Sound Is In You. The sophomore disc from the Contrast
will certainly please jangly music fans, as chiming guitars are featured on
many of the tracks - notably "Can't Stand The Light," "Fortune," What You
Want" and "Wireless Days." The lead vocalist sometimes sounds like Robyn
Hitchcock, and the group's music often sounds like Nick Heyward or a more
pop-oriented REM. A welcome step forward for the Contrast!

Another item found because of the new KDHX library newsletter system, where
they e-mail us programmers a list of new releases with links to websites
about them. These guys are praised by Little Steven Van Zandt, so I figured
they were worth checking out. Wow! A great new guitar band. I mean a great
band with great guitar. Not to mention strong vocals and a knack for melody.
I'm blown away.

Excellent 2005 releases from The Contrast who sound like long-lost cousins of Pat DiNizio and The Smithereens throughout this fine, fine record! ittle Steven continues to get bahind this band on this, their third release you`ll find armies ischiming guitars, overflowing energy, crafty guitar interplay(think a mod-ish Television) and infectious grooves, all tinted with a rose colored neo-garage rock glow. Like the previous albums there`s some jangling guitar, bits of psych-pop and solid vocal/melody balance in the vein of Elvis Costello and some REM, perhaps. This is the album, their 4th, where the band really settle down into a classic style of jangled, but not overly polite rock, pop `n roll. Listen to the sounds below and know that the 14 songs here pass refreshingly and allow for fulfilling multiple listens. Extremely Highly Recommended!

I hate it when reviews center around describing a musician's sound in the
context of another's. After all, if you haven't heard of the person who
Miscellaneous Band #254 is supposed to sound like, you've got twice the
explanation and still no idea. Still, when I popped in Wireless Days, the
resemblance between The Contrast and The Pernice Brothers was instant and
obvious, and such a parallel at least deserves a mention.

The Contrast's chops are a bit more shiny and guitar-centric than Joe
Pernice's thick dourness. It's the same brand of harmonic pop, though, and
holds the same immediate appeal. Opener "Can't Stand The Light" is an
excellent hallmark of things to come, rolling out with constructed
catchiness, jangling guitars, sharp leads and...lisp-heavy vocals? Contrast
vocalist David Reid sounds as if he's singing through a mouthful of cotton,
which turns a phrase like "I can't stand the light" into "I canst shtand the
lighshh". It's a heavy enough lisp to be disconcerting when you first listen
-- but behind it, there's a softly appealing drawl, friendly but vulnerable.
Once you latch into this, it's easy enough to view the lisp as a welcome
quirk -- especially thanks to "Wireless Days", in which Reid makes use of
his style of speech to rhyme "idears" with "fears" in the chorus.

Reid also harmonizes with Spencer Hart, who contributes a sharp, silvery
tone to the vocals. It's a somewhat unexpected pairing; logic suggests that
Reid should be backing and Hart singing the lead, but the opposite pairing
proves far more effective. It's one of the things that makes The Contrast
stand out.

The Contrast draw their identity from their energetic earnestness. Their
lyrics are, perhaps typically, half-formed -- every verse seems like a
different scene. Such disjointed verbiage would leave most bands struggling
to connect with listeners, but Reid fills in the blanks with his
dead-serious emoting, and the band matches that emotion pace for pace. In
the end, you get a complete picture -- and something catchy enough to stick
to your braces, to boot.

There are flaws here, too -- most notably the fact that The Contrast haven't
fully matured as a group. Their distinctive voice and ability to stand out
seem half-formed; there's a personality there, but it doesn't always reach
out to grab you. Time will tell whether The Contrast steps up to the
challenge and really opens up, or slides down to the point where they become
indistinguishable from the masses. Wireless Days is likely to be the group's
turning point, though -- it's a catchy, competent effort that hints at
greater things.

Power pop of high class.

The Contrast and song writer David Reid have many times been compared with a
young Elvis Costello and that is easy to understand when you listen to the
music they play on the record "Wireless Days".
A young and energetic Costello combined with the sound from The Byrds
guitars is a good description of how the band sounds.
The new record offers the listener a lot of wonderfull pop songs and there
is just a small 'drop' in the last apart of the songs which gives the album
not a higher grading.

Reid has the skill to create songs with winning refrains. "Can't stand the
light", "What you want", "Charlie Grey" and "Ansaphone" will absolutely be
radio hits.

Suddenly have Teenage Fanclub got a worthy heir.

This British quartet hails from Peterborough, Cambridgeshire. The band plays urgent guitar-based rock music not unlike early Bob Mould. The band's melodic pop tunes feature minimal overdubs and a straightforward approach that is refreshing and genuine. While the listeners' immediate reaction might be that this is just another underground guitar band, during the course of a few more spins the band's subtle, unique traits begin to dissolve their way through the eardrums. The intent here is not to clobber the listener over the head with volume and noise...but instead to present quality tunes using as little as possible. Plenty of fresh, upbeat tunes here. Our initial favorites are "Perfect Disguise," "She's Been Here Before," "Falldown," and "Friend for a Day."

Beginning with the uptempo guitar-rocker "Perfect Disguise," it's clear that this U.K. trio (which has since become a quartet) has done its homework studying '80s U.S. indie rock, in particular, R.E.M. Singer-songwriter David Reid's fleet, melodic guitarwork is as much a centerpiece of the sound as is his Stipeish-sounding--albeit, less whiney--vocals.

The songs are mostly about he-she issues but, if you tire of the themes, it's quite easy--and rewarding--to hone in on Reid's seemingly endless well of melodic and rhythmic ideas. The title track/single is near-perfect piece of harmony-filled radio pop, "Falldown" achieves a Gang Of Four-like edge, and the poppy "Turn Off The Sun" features the chiming guitar sound of the Byrds. Of the 14 tunes, "She's Been Here Before" is one of the few clunkers.

A bit too ambitious, it aims to tap the Elvis Costello school of punchy pop with chord changes on nearly every beat. However, Reid's voice isn't up to the task and only the chorus really connects. But those few missteps are simply due to the band's inability to edit the tracks included on the disc (hint: 14 tracks isn't necessary).

Second album from The Contrast, who now feature amongst them Rich Mackman,
who followers of the late 90s zine scene may remember as being from The Vow
(or just Vow as they were later called). Their music falls somewhere between
non-twee janglepop and non-punky powerpop. There's also Late Train which is
quite a departure from their usual style, with its additional surf and rock
n' roll influences. This noisier sound is interspersed with quieter sections
that are best described as melancholic indiepop. Whilst the individual
styles have been done before, it's pretty original to include them all in
the same song. Elvis Fix is also rather different to the other songs - a
mixture of laid-back 70s rock and something rather more dark, and featuring
the same sort of keyboard sound Delta have used in their later recordings.
This band's first album was great, but you know, I think this is even
greater. Really catchy music with oomph - I've been listening to this a lot
lately.

Excellent 2005 releases from The Contrast who sound like long-lost cousins of Pat DiNizio and The Smithereens throughout this fine, fine record! ittle Steven continues to get bahind this band on this, their third release you`ll find armies ischiming guitars, overflowing energy, crafty guitar interplay(think a mod-ish Television) and infectious grooves, all tinted with a rose colored neo-garage rock glow. Like the previous albums there`s some jangling guitar, bits of psych-pop and solid vocal/melody balance in the vein of Elvis Costello and some REM, perhaps. This is the album, their 4th, where the band really settle down into a classic style of jangled, but not overly polite rock, pop `n roll. Listen to the sounds below and know that the 14 songs here pass refreshingly and allow for fulfilling multiple listens. Extremely Highly Recommended!

David Reid is singing angst for the memories. The creative force behind The
Contrast alternates his lyrical tendencies between the obscurely eclectic,
the culturally knowing, and the heartbrokenly mundane, then couches those
words behind strong beats and a slick mastery of the Rickenbacker guitar.
His band's sophomore effort Wireless Days is an impressive and solid package
of music, a dozen songs that build on the promise laid out on their debut
Mystery #1.

The Contrast has grown as a band, and are a solid quartet now with Reid
leading with vocals and guitar, James Crossley on drums, Richard Mackman on
bass, and Spencer Hart on backing vox and rhythm guitar. Andy Hawkins is
back as producer/engineer and also lends an occasional keyboard accent to
the proceedings. There's a feeling of confidence borne of playing together
well (yes, the band is tight in live performance too) but the real magic
comes from Reid's ability to tap into what's gone before and translate it
into something moody and new.

The Contrast's sound is not unfamiliar. Most would argue that it resembles
early Tom Petty (with a little Tom Verlaine as well), but I hear the earlier
Roger McGuinn/Byrds antecedent as well. Reid is a very adept guitarist with
a soft voice who manages to find the subtle hooks that grab hold with
repeated listenings.

The CD opens with the infectious single "Can't Stand The Light," an anthem
to things not being quite right in a relationship complete with jangly
Rickenbackers and sweet harmonies (and I love how the music ceases suddenly
mid-song to match the lyrics). Sweet "Association-like" harmonies appear
later in the song as well. The guitar-adorned title track is an ode to a
restless mind: "Too many fears / Too many ideas drowning on a wireless day."
My current favorite here is "Fortune." Opening with a Crossley drum riff
that seems borrowed from Pete Thomas on Costello's "This Year's Girl", then
quickly changing into something reminiscent of Tom Petty, the song tells the
tale of a woman unsure of herself and eager to become someone she's not:
"You're never gonna change your fortune / hiding inside every hole like you
never got lost / you've got all the bills but you can't tell the cost /
you're never coming back and you're thinking about wondering why."
Another very catchy song here is "Mask," one selected for repeated airplay
by Stevie Van Zandt on his Underground Garage syndicated radio show. Again,
there is some sense of hiding behind a mask (real or metaphorical, can't say
for sure) - a common theme in many of Reid's songs.

The lovely "What You Want" offers layers of pretty guitar in the style of
The Byrds that surround the tale of a man reluctant to be pursued by a woman
who is always around. The happy sound of this song belies the words
contained within it.

"Ansaphone" is another candidate for radio airplay, an infectious song of
miscommunication with strong drums and guitars that builds to the beauty of
an a cappella harmony ending.

While the first half dozen songs are all standouts, the second part of the
CD requires a few more listens for proper appreciation. "Unfair Game" seems
a little derivative of the previous (and stronger) song "Fortune," following
a similar formula with strong drum rhythms leading the verses. While I like
the song (another tale of drunken misgivings and faulty communication in a
failed relationship), I think it suffers some from the comparison.
"Charlie Grey" is another lament of lost love made all the worse by the odd
misfortune of getting messages for some fairly popular stranger named
Charlie Grey. "Drop Dead Gorgeous Love Song" is a soft ballad about laughing
at one's troubles in love, including (yes) more miscommunication ("I guess I
didn't tell you everything").

The Contrast show some "1950s/Elvis" influence in "Late Train," which
features a different Brian Setzer/Stray Cats-type flavor not heard on other
tracks. The moody contemplative "Elvis Fix" is the closer here, a ballad of
memory problems and mysterious revenge.

All told, the majority of these songs are real winners, with a sound that's
familiar yet new. The Reid we see in song is a thinker who hasn't fared well
in relationships, and may drink and smoke a bit much at times to get over
this fact. Thankfully, that angst is put across with winning melodies,
layers of great guitar, strong rhythms and pleasant harmonies. Wireless Days
is a big step forward for a band that deserves a larger audience. With a
little more favorable airplay, The Contrast just might achieve that goal.

" .... The Contrast play a quite stunning little number called Publicity Stunts full of passionate guitars - Like it!"

Did they really come from Peterborough? Fab songs that burst with energy and attitude proving guitar songs can do so much more than Travis let them. If you like glam rock, punk, Lou Reed and excellent songs then you'll like the Contrast, if not then fuck off and buy the Invisible band....9/10

The Contrast come from Peterborough but on listening to them, you'd be forgiven for thinking they're lying. Perfect Disguise is instantly likeable with its big riffs, crisp production and gruff vocals. The hooks grab you every time and if they keep writing strong songs like this then they've definitely got a long-term future. The debut album Mystery #1 is worth checking out and this single features two non-album songs, the best of which is the 60's influenced ditty, Late Train. A definite winner.

Brilliant, melodic, memorable songs which blend a 60's pop sensibility with more recent noisepop/powerpop elements.

The Contrast take us on a cab ride through the darkened streets of mid-seventies New York with Lou Reed at the wheel and Elvis Costello tied up in the trunk, Cool.

Mystery#1 (album) "A debut album from Peterborough based four piece The Contrast, on US label Rainbow Quartz and produced by the seemingly omnipresent Andy Hawkins... On first investigation, it comes across like a good mid-pace indie album, beautifully produced and crafted with consistent, solid songwriting and soulful vocals that give it a sort of earthy quality. But there's more lurking under the surface... David Reid, the singer/songwriter, seems to be drawing on inspiration from every decade of the second half of the 20th century, and so comes up with something timeless that still sounds very contemporary. There's nothing over the top or flamboyant about the delivery, it's simply good songs played well, safe in the knowledge that the simplest ideas are often the best. And the album has its fair share of great moments... The lead guitar on the title track, and the chorus of "Independence" stand out.

"...tunes with big melodies and messy guitars..."

"Fronted by guitarist David Reid, comes The Contrast, this is a band that should be somewhere, they mix up an impressive sound ... The mix of songs is so uplifting; it's like pump up and up, then a sheer drop to cool vocals... "

"Sway-a-long guitar pop with the requisite honey-drenched vocals and swooning chorus... I can see Alan McGee coming over that hill... "

"The overall sound of The Contrast is New Wave a very mature alternative rock. Comparisons might be drawn to Lou Reed, Radiohead and even Elvis Costello & the Attractions. David's voice in particular is very much like Costello's on 'She's Been Here Before' ...If there were any justice in the World everyone would be battering down David's door to get their hands on these addictive songs."

"...Most reviewers catagorise them under the 'new wave' movement from the early 80's and Elvis Costello in his Stiff period is often made comparison (...can't deny this!). The point is that the more you'll hear 'Mad Professor' the more you'll get addicted and even if I know I'm exagerating maybe by saying that this song would fit perfectly on Iggy Pop's 'The Idiot' album it still makes sense to say this is a great tune..."