The Dole Age - Seconds Out: Big Hitter or On the Ropes?

It's no secret that I'm a massive Dole Age fan. I love their honesty, the way they don't pretend to be Joe Satriani, Lee Sklar and Steve Gadd playing at Ronnie Scott's. Their songs are earnest, hardworking, and probably have a pint on their lunch break, just to take the edge off life. I like that. I like that a lot.

So when they asked me to review their new single, 'Seconds Out', I was pretty excited. Recent lineup changes and a few choice gigs with Merthyr's Golden Boys Pretty Vicious mean that they've earned a few more swimming badges on their music industry budgie smugglers, but is the soul still there? Are they still they still swinging, or is it time to tap out?

'Seconds Out' jumps into the ring with a driving acoustic riff that's so driving that it makes an acoustic guitar sound like a percussion instrument. I bet a few plectrums laid down their lives for the recording of 'Seconds Out.' This angst is pushed forward by a bounding drums and jabbing bass combo, giving meat and testicles to 'Seconds Out' and barging you into the corner.

Stepping over these massive balls is the vocal melody. Dancing, ducking and diving more than a cockney in roller-skates, the vocals are the fancy footwork to the rhythm section's beefy right hook. Lyrically, 'Seconds Out' is dripping with that secret ingredient - honesty. Entirely relatable, hideously catchy and filled with the type of observations Lee Evans would be proud of, the vocals jab the face, landing two perfectly timed shots right to the ear canals. It works well - light-footed vocals over a stomping rhythm. 'Seconds Out' is very much a case of float like a butterfly, sting like a bee.

The surfy guitar work adds a dimension of space - keep your distance, stay out of arms reach. A few stabs act as a warm up, before the swirling solo steps up to the plate and goes to town. Tuneful and nicely reigned in, it does a good job of smacking you in the nose and making your eyes water. It doesn't want to knock you out, just bruise you up a bit before you go home and show your Mam.

There's such a fantastic tone to 'Seconds Out' - it's got attitude, but it's over it. It would've been easy to make a flat out rock song with screaming and rage but they haven't. They've kept it serene, above the belt and clean, and that is a very admirable attribute and a very Dole Age thing to do.

The Dole Age have this fantastic ability to work in a great deal of complex emotion in their work. It's never a case of HAPPY SONG or SAD SONG. It's not black or white; they've wandered into the grey area, and brought out a great deal of colour and light. I really fucking like that. I really fucking like 'Seconds Out.' After playing it solidly for a week on holiday, I still find it fresh and completely listenable. How they do that, I do not know. Hats off, The Dole Age.

So, 'Seconds Out.' Big hitter or on the ropes? With a heavy right hook going straight to the stomach, Ali-esque footwork, and a 'Sorry mate, I have to' expression on its face, 'Seconds Out' is utterly fantastic. It's not about being angry, but it just gets on and does what it does until it's time to clock out. I absolutely adore 'Seconds Out.' Undoubtedly one of the catchiest tunes to come out of Merthyr in a long time.


What is The Dole Age's sound?

Take a Spotify-esque acoustic guitar line, and then give it balls. Thudding bass and driving drums a la Arctic Monkeys but with less Knobbishness. Vocals more acrobatic than a Red Arrows display, and a lathering of soaking wet 60's surf guitar, for some variety. Pour in the type of emotion that gives psychiatrists nightmares and serve lightly on a punch to the face.



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@TheDoleAge
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Molly's Boulevard - Same Time, Same Places: Going Places or Same Old Same Old?

It's official. Merthchester is in full swing. Bands are creeping out of the woodwork in Merthyr this year. From Chapel Row storming the airwaves barely out of the starting block, to Florence Black headlining Merthyr Rising, and my own groovings with The Moon Birds getting our first batch of airtime, stuff is happening in Skintville. Not only are bands crawling out from the foundations, but bands are even forming within pre-existing bands. Rock'n'roll is contagious.

One such case is the accidentally formed Molly's Boulevard. What was meant to be a one-off kiss has turned into a full on fling, with all members of Molly's Boulevard stemming from the new ska/two-tone act of Upbeat Sneakers. So, is a sub-band sub-par? Or can they hold their own in a world where Merthyr is kicking and screaming like Madchester 20 years ago?

A fortnight ago, I was screaming at Cameran and Ryan to get in the studio with some original stuff. Barely a week later, they answered with 'Same Time, Same Place.' You can't argue that the Molly's Boulevard boys work fast. Written, recorded and mastered all in the space of seven days - but you'd never tell. 

An opening straight out of the finest 70's rock offerings smacks you round the chops. Dancing hi-hats and confident, cocky guitar splashes put me in mind of Thin Lizzy's 'The Boys Are Back In Town,' but with a bigger right hook and faster feet. A grumbling bassline moves the oceans underneath the sustained distortion, before the guitars come bounding in and dragging the verses with them.

The drums are sharp. They don't bellow and splatter like many other rock tracks, but rather take on a much more punky attitude - beautifully honed and high in register, they slice through the mix like a Chickenland fart in a crowded room. 

Personally, I think there's more than a hint of early Foo Fighters about the guitar work. It's unfussy, solid, and ultimately lets the groove do its thing - a rare trait in a band so new. 'Same Time, Same Place' is very dynamically aware, with great attention paid to keeping that swaggering rock groove flowing. 

Lyrics are uplifting and anthemic, feeding off the major positive vibes from the Merthyr Rising festival of a few weeks ago. They're delivered with complete confidence and assertiveness - a twang belies the Welsh roots, but there's no American excess here. It's as down to Earth as the plumber's wife. 

I can't help but feel there's a nod to Florence Black in here somewhere. Not in tone, or in sound, but rather in attitude. Maybe it's just the title, or perhaps the floods of distorted guitar, but there's a little of Merthyr's finest rock in there. It's nice to hear the same DNA coming through. Molly's Boulevard are chasing some big tails, and they're keeping up. 

Overall, 'Same Time, Same Places' is not you're typical first offering. It's sophisticated, well-presented, and just fucking cool. I can't wait to hear more - the Molly's Boulevard boys are lighting the touch-paper to something special. Smash it boys! 

What do Molly's Boulevard sound like?

Take a fat slab of 70's rock. Thin Lizzy, Quiet Riot, you know the drill. Drag it through some of the finest 90's rock a la Grohl, and then give it some Buckcherry attitude. Take away some of the American ego, and give it a more presentable face, and then shout at it to get back in the studio and do some recording!

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@MollysBoulevard
http://www.mollysboulevard.com