When a band has the ability to capture a feeling or moment in time through their music, it is a special thing indeed. The Ends are a four piece from Canvey, Essex who are able to do just that. The band have just released their new EP ‘Talk Of The South’, a candid snapshot of life in and around the Essex delta as seen through the band’s own unique lens. Recorded, mixed and mastered exclusively by the band, ‘Talk Of The South’ looks to build on the reputation they earned themselves with 2010’s daring but accessible ‘No One Else’ and the string of notable live performances that followed.
The EP opens with a seaside sample that every listener will recognise. Waves break on a grimy beach as the mechanical call of an amusement arcade entices those young and old into frittering away their hoarded shrapnel. And then the riff of ‘Talk of the South’ kicks in, spoiling your cockles and melting your Mr Whippy with jarring guitar accents and lead singer Michael Darrah’s dastardly vocals. James Clarke’s lead guitar solo sings of the glory days of Britpop before a series of incomprehensible utterances from Darrah lead us back into the lyrically blunt (but effective) final chorus.
Second track ‘You Write the Hits (I Write the B-Sides)’ offers an earnest glimpse at a band’s song writing process, cheekily hinting at the tension caused by two creative sparks within the same group (although on the evidence of the individual performances across all five tracks, it wouldn’t surprise us if all four members had each contributed a song to the EP). The main riff and rhythm are considerably heavier in comparison to much of the EP, and the chaos of the extended outro is a nod towards the band’s older, less subtle material.
‘Circe ’45’ is a bold inclusion at the halfway point. Running the risk of alienating hyperactive teens and trendy scene kids by curtailing the EP’s momentum at such a vital stage, The Ends have gone with their hearts on this one, taking the view that if it sounds good, then why not include it. There beats the pulse of a genuine heart beneath the playful appearance of this track, with James Clarke’s solo again taking pride of place. Although you tend to find yourself waiting for the sudden appearance of a trademark tempo-changing riff, ‘Circa ’45’ would fit perfectly into a live set as either a subdued opener or calming interlude.
Darrah’s narrative voice really comes to life on ‘In Another Town’. His mournful, colloquial drawl gives the track a believable context without getting lost in self-indulgent morbidity. Everyone can relate to the hostility of a night out in a different town, although with lyrics such as ‘Jackie Jones was all skin and bones when Lucy found her dead’, this track cuts far deeper than it may seem on first appearance. The backing vocals add to the eerie, sparse mood, with Liam Davies’ bass taking centre stage in the verses. There is an intriguing mini-break that screams Chili Peppers, before Darrah is left to finish things with a poignant soliloquy.
Final track ‘Sunshine’ channels the frenetic quirkiness of Canvey legends Dr. Feelgood with an insanely catchy riff and an offbeat hats groove courtesy of drummer Joe Blamey. The track stutters a little in the midsection but is soon brought home with a return to the dominant riff, which is followed by a clever bounce-along outro that is sure to bring safety conscious venue managers to tears.
‘Talk Of The South’ has an exciting feel about it. Retaining the raw appeal of ‘No One Else’ but reflecting a more refined approach to song craft, The Ends have come up with an EP that could take them to the next level, one that will hopefully involve signing a contract. Their songs make sense in a post-Arctic Monkeys era, where their experimental curiosity translates into an affable boisterousness that will appeal to the majority of music lovers. I only hope we don’t have to wait too long for their next release.
