Cheatahsby Cheatahs

It is possible to make music in London rediscovering a taste for the noise of an decades-old America? To answer this question is given by the four Cheatahs that in the British capital have expressed their common passion, but that actually have their roots far from the City. The front-man and band leader Nathan Hewitt, moreover, was born and raised in Canada and also the Englishman James Wignallm, guitarist, moved only after the studies in the most cosmopolitan city of the earth. They will give rise to what is the core of the band name and Cheatahs which will add up to lower the Californian who moved to London and Dean Reid on drums Marc Raue, from Dresden. Since so much geographical diversity, the risk was to be in his hands a hard chaotic and formless and instead, from the very first notes that follow the noisy intro ("I"), all fears can be set aside.

All ideas are strict, well-defined and identifiable and the proof is the fact that although in each of the twelve songs can be divided rimarcate facets of style , the overall sound of Cheatahs is homogeneous, without sudden turns or sudden changes. When about forty seconds, which introduce the band's self-titled album in London leave the ground on guitars and vocals of Nathan Hewitt, it seems that we should prepare for a journey into the modern psychedelia ("Geo") and yet those same chords and poisonous impetuous have an acid taste on the palate than the 90 preserves the enjoyment of some Dinosaur Jr. and the Pixies, in that trade-off between high walls and warped sonic solos short and fierce ("Northern Exposure", "Leave to Remain"). There is, however, to rock that has unearthed the right key to "Cheatahs" because those same distortions will continue to change shape slightly, becoming more incorporeal and melted , marrying in a soft and soothing vocals and revealing the nature of shoegaze quartet ("Mission Creep", "IV" ) , who is not afraid to take a cue from My Bloody Valentine ("Fall").

As mentioned, all the inspirations, though not too original, give shape to sound anything but sickly and decrepit, able to take the roads less expectations of the punk style Hüsker Dü ("The Swan") or even more power-pop, in the manner of Weezer more rowdy on record ("Get Tight", "Loon Calls"). Everything is always key deafening, with the noise in the foreground, the hustle and bustle of the good kind, the one that shows the power and rise to a noise-rock never yet potentially unbridled swollen generational anthems to keep in mind, a bit as they knew how to make Canadians Japandroids ("Cut the Grass"). It is on these lessons that arise noise some of the best pieces, such as "Kenworth", which with about six minutes, is the longest track of the album. Each of these ideas, any thing of style Cheatahs is therefore inextricably linked to the other and nothing seems to be able to get the upper hand on the rest. In this record there are only a few melodic lines and a bit of originality to be really something admirable, but undeniably an album so it's something you feel the need. Something that perhaps did not expect even those who had been able to appreciate the "Extended Plays".