vapidadolescentblues:

da sharks bois stole my heart and i’ll never never ever get it back again

digsunsets:

The other half in Germany.

digsunsets:

The other half in Germany.

(via yumiii8)

Hooting and Howling Magazine review of Selfhood

After the high success of last year’s debut, ‘No Gods‘ , Sharks have been tearing around the world on headline tours, as well as those with the likes of Blink 182, Tribes and Pure Love, and amazingly, have still managed to find the time to get back into the studio and come up with a follow up, ‘Selfhood‘, all in a mere 13 months – no second album syndrome in sight.

The band’s – seemingly correct – decision to capture themselves at their raw, live show-selves by recording the majority of the album live, with minimal studio pretense, is obvious from the off, as opener ‘Selfhood’ immediately continues with the modern punk rock that ‘No Gods‘ started, but this time with more refined guitars, and just pure energy, and at barely 2 minutes, it’s a bona fide single from them already.

Your Bloody Wings‘ and ‘Portland‘, the first songs from the album to be played live, continue to highlight the outfit’s hook writing abilities. James Mattock’s melodic vocals and Andrew Bayliss’ thundering guitars Sharks-bandwork in complete harmony throughout them both, and though the sound doesn’t appear to have strayed to any distant realms so far,  there’s development in the sense that they seem much stronger in their fusion of sound than on previous efforts – there’s even a few “la la la”‘s thrown in for good measure.

The alternative heavier punk sound of ‘Show Of Hands‘ hints a brief return to tracks such as ‘I Wont Taint‘ and ‘The More You Ask…‘. However, both have that stadium singalong refrain, a point at which Mattock’s vocals excel in their own unique right again, before bassist Carl Murrihy creates some solid backing for drummer Sam Lister to go wild – something the live recording appears to be useful for. ‘Gold‘ even suggests a hint of summer, complete with spoken word breakdowns, the entire album seems to carry an optimistic sound, much like the echoes of older tracks like ‘Patient Spider‘, and that’s something that appears to seperate Sharks from the rest of the punk rock wannabes, it’s got a soul that resonates from the stage to the studio without fault.

Lastly, a contrasting tone appears to be taken with ‘The Wild One‘. Again, Mattock’s vocals shine through, while the minimalistic guitars play a lullaby inducing riff, before the track ascends into a euphoric wall of noise and a stadium worthy atmosphere, then back to nothing but footsteps and a closing door – an album closer done by the book, and a brilliant one at that.

No musical breakthroughs occur on this album, Sharks haven’t suddenly gone techno, but they have taken all the great workings of ‘No Gods‘ – it’s by no means a part II – and utilised them effortlessly to create an incredible follow up, making stone set proof that change isn’t needed when you can make records this good.

8/10

Source: http://hootingandhowling.com/album-selfhood-sharks/

Listen to Sharks brand new album Selfhood  at Rocksound.tv

Listen to Sharks brand new album Selfhood  at Rocksound.tv

wewerepromisedsomuch:

Album Review

Artist: Sharks

Title:Selfhood

Record Label: Rise Records

Release Date: 29th April 2013

Rating: 8.5/10

There is a notion that if a shark stops swimming it’ll die, and this ethos has been taken by the Leamington Spa band that bears the same name as the fearsome sea predator. The four piece from Warwickshire only put out their debut record, No Gods, in March 2012 and now a year and a month later we have their sophomore record, Selfhood. The aim with Sharks second output was to “focus on getting the best songs we can, out there as quickly as possible” as quoted by frontman James Matlock when pressed about the creation of his band’s new album. Mission accomplished then as Selfhood is a concise barrage of rootsy punk ‘n’ roll that bounds along at a blistering rate. The record itself is 11 tracks long and clocks in at around thirty minutes which once again proves that the quartet don’t muck about when it comes to turning around an album, and indeed the hasty nature bleeds into their sonic delivery.

We’ve said it before but, Sharks occupy that barren wasteland between The Smiths and The Clash. The boys from the Spa exude a punk rock clatter but also possess a pop spirit which gives their craft urgent hooks that imbed themselves in your lugholes. At times vocalist/guitarist James Matlock’s earthy vocal blurs the lines between Morrissey and Joe Strummer, the frontman happily straddling the poetic delivery of a punkrock warlord. Track ‘22’ illustrates this, the best with a reflective Matlock pondering “What is normal anyway, anyway, anyway/is it normal to be glad at all?” At this point the track is bare boned only for a bassline and a drum lick but then it soon erupts into an arms-aloft punk rock nugget almost like Strummer has rushed Morrissey off the stage to power the song into a more muscular territory.

Sharks reside in Leamington Spa but it seems they are never in their hometown due to the fact they are always touring with a broad spectrum of punk and rock bands, from Pure Love, The Gaslight Anthem and Four Year Strong to name a few. It’s this firebrand punk spirit that melds into Selfhood, albeit for two songs, the record sounds like four bros, sauntering into a practice room, plugging and blasting out a record, no messin’ at all. ‘Bloody Wings’ surges along like Brian Fallons gang with an upfront drum stomp provided by Sam Lister, while vigorous guitar stabs riffed out by Matlock and Andrew Bayliss fuel an incendiary delivery, not to mention Carl Murrihy’s bass rumbles that give ‘Bloody Wings’ a healthy bounce.  ‘Gold’ is another succinct sucker punch of a track with the band careering full tilt into sweaty punk rock-dom. ‘Sundays Hand’ may chime in like a camp fire song but any kumbaya vibes are premature once the foursome snarl back to life with serrated riffs and thunderous drumming.

What’s telling with Selfhood is that although it’s labeled as punk, it is also anthemic without being disposable, plus the LP can be considered intimate and personal without losing any of the albums bite. Closing number ‘Wild One’ spotlights Sharks at their rawest, with the song commencing only to the sound of a lonesome riff and Matlock’s tender croon. “I’ve waded through an ocean of sand for a grain of doubt/and I’m certain my body’s such an anchor/when it’s wasted not being beside ya” to the sound of a shadowy surf guitar motif floating like flotsam and jetsam on a millpond before the choppy waves of honest to goodness rock ‘n’ roll brings the song to an explosive climax to then drift effortlessly to a close.

Let’s hope this group of Sharks never stops swimming because with music this honest and pure ceasing to move is not an option. At this rate we’ll be praising album number three in May 2014.