The Contrast “God of Malfunction”
Based in the UK The Contrast are a tight power pop band that has stood the test of time. After a label change to Wicked Cool Records, they return with a bright shining gem of an album. Starting with the solid “Underground Ghosts” it’s melodic jangle and tight arrangements make use of classic pop influences without sounding too retro. Producer Little Steven Van Zandt dubbed the single “Coming Back To Life” only “the coolest song in the world.” It’s hard to argue, as it’s a solid slice of catchy guitar pop, lead by Glasgow native David Reid’s strong vocal performance. “Take Me Apart” once again continues the hit parade, and these three energy filled hits are a tough act to follow. But it still hits with the stick-in-your-head melodic masterwork “Gone Forever” which reminds a bit of The Spongetones and The Minus Five. After the albums mid point the songs are merely very good instead of great, but they still manage to keep your attention. The band scratches a Bob Mould itch on “Thought You Were Strong” and “Better Than They Seem” channels XTC a bit. Overall, it’s the variety here that makes it a serious contender for my top ten list of 2010. Easily this is the band at it’s most accessible and energetic.

[From Powerpopaholic: The Reserves and The Contrast]

Friday, May 28
The Cavern Pub

12:15 TBA
1:00 Focal Point
1:45 The Anydays
2:30 Boston Manor
3:15 Krakatoa
4:00 The Deccas
4:45 The Beat Rats
5:30 The Ace
6:15 The Dukes Jetty
7:00 The Madd
7:45 Popgun
8:30 Karl Morgan & The Click
9:15 High Child
10:00 The Contrast

Friday, May 28
The Cavern Club
Front Stage

12:15 The Seasongs
1:00 Kelly’s Heels
1:45 The Corderoys
2:30 The Gurus
3:15 Yani Martinelli
4:00-6:00: John Lennon 70th Birthday Tribute6:15 Paul Bevoir
7:00 Cola Jet Set
7:45 Detox Cute & the Beauty Junkies 8:30 The Ragamuffins
9:15 Feel Dizzy
10:00 The Hype
10:45 The Dukes Jetty
11:30 The Madd
12:15 The Fuzzy Halo
1:00 The Fast Camels
1:45 Rockburn
2:30 Stars in Coma

Friday, May 28
The Cavern Club
Back Stage

2:00 The Seasongs
2:45 Bang 74
3:30 Feel Dizzy
4:15 High Child
5:00 The Fuzzy Halo
5:45 Jeremy
6:30 TBA
7:15 The Corderoys
8:00 The Anydays
8:45 The Gurus
9:30 Bruise
10:15 Twilight Birds
11:00 Karl Morgan & The Click
11:45 DC Tempest
12:30 Krakatoa
1:15 Empire
2:00 The Contrast
2:45 The Movers

It’s hard to fault a band like the Contrast, even if they blatantly retread an oft-used retro rock formula that bears witness to ‘60s and ‘70s influences and betray an unrelenting enthusiasm that finds practically every tune elevated larger than life. Now signed to Little Steven’s Wicked Cool Records, this cheery British band has been given full license to let their ambitions run wild, affirmed by the fact that the person who procured the producer’s chair is none other than Little Steven himself.

As a result, six albums on, the Contrast offer little contrast from their previous MO. Effusive indulgence turns songs like “Underground Ghosts,” “Take Me Apart” and “Gone Forever” into celebratory soirees chock full of rousing melodies, jangly guitars and gushing sentiment. The lavish production slate is further fleshed out by an arsenal of cellos, mellotrons, theramins, treated keyboards and an array of instruments well suited to their epoch ambitions. Even the occasional odd encounter – “I Am An Alien” comes specifically to mind – manages to retain an effervescent sheen. Which makes God of Malfunction a benevolent presence indeed.
–Lee Zimmerman

[From AMPLIFIER: THE CONTRAST]

With latest single “Coming Back To Life,” the Contrast brings you a sci-fi anthem that anyone can appreciate for its sophisticated musicianship. Led by Glasgow native David Reid, the U.K. group layers theremin, mellotron and other strings over kooky drum beats and wiry electric guitars to create a deceptively poppy and danceable tune with influences spanning from surf to psychedelia. “Coming Back To Life” was dubbed the “coolest song in the world” by Little Steven Van Zandt on his Underground Garage radio show, and you’ve gotta respect Reid as he throws down in the chorus, “We won’t change/We’ll screw the danger.” Pick up the album, God Of Malfunction (Wicked Cool). Magnet Magazine

Peterborough, UK’s The Contrast have been at it for a while. A power pop band, a little psych, songs written around a Rickenbacker Jetglo 330, but a clean sound that didn’t really fit anywhere but power pop, although almost their own category. They always sounded too clean for garage, yet possess a simple, modern jangle that doesn’t make one go backwards as most good rock does, but still has it. In a sense, The Contrast exist as a great rock band, but it’s hard to make direct points to the lineage except for power pop. However, five great albums on the high quality but niche paisley pop label Rainbow Quartz Records show a high quality catalog that has largely been unrecognized. They chime and have influences, but the sound speaks of rock noir (psych-noir) more than anything.

In their first completely new foray with Wicked Cool Records, front man David Reid and company take their film/pop culture sound a lot further, but the underlying theme of their songs remain the same. It’s always been about dysfunctional women, broken relationships, women on the verge that are unreliable but magnetic nonetheless.

The Contrast always had studio sense that took them well out of the garage. There’s no mistake that the elements are there: the simple chords, the harmonies, the melodic hooks that draw one in, but the production has always been so clean that many garage fans find a substitution in B-movie imagery of the same era for the garage punk sound. The opening “Underground Ghosts” might be a song from the 2007 album of the same title that never made the cut. Vintage keyboards providing the basic melody in sharp difference to the guitar chord ethos of garage rock, Reid’s trademark melodic guitar taking center stage, great vocal harmonies, and of course, a supernatural theme that low budget, vintage film buffs catch on to.

A sure standout track in line with the obscure movie theme is “I Am An Alien” with it’s twisting theremin presence and pounding beat, but the theme is not outer worldly. Instead, it touches of the eternal divide in relations of what someone thought you were and what one finds out once they’re involved: the divide is too great and the planets are too far apart. “Gone Forever” is the retro groove in nothing but Rickenbacker, Byrds-y jangle that’s all classic power pop. The mellotron set on violin gives it a bigger feel and the overall result is a harmonious revelation of an end. The title track is full of parts that make The Contrast so unique, but juxtaposes a boppy chorus with metallic riffs. that make a memorable melody. The equal jangle of “Unexpected” takes on a personal note that’s familiar territory for The Contrast, but it’s simplicity and twist between a softer take that’s replete with strong drumming lives up to its title.

Brit rock/pop has always taken American rock influences and turned them upside down. Therefore, most of us have a soft spot for the “sensibility” in care that good British rock from the ’60s to now has taken. In a sense, The Contrast have always had this sensibility that matches bands like The Kinks in being polished and harmonious but focusing on angst. “She’s A Disaster” is a perfect accomplishment on these levels with guitar lead and keyboard melodies that hook one in but simultaneously idolize the familiar yet traumatizing theme of the beautiful girl (or boy) who’s presence is so strong that it dominates, but that strength is wrought out of so much pain that it presents both fear and longing with lyrics like “Her words are charge with hidden games, her makeup’s going up in flames right now” only to be followed by “She’s in my head from my distant past and future.”

The closing “False Ambition” is no less intriguing in its depth and angst, added piano which not necessarily adds to the depth of the song since their songs have always relied on guitar led melodic hooks, but providing the piano background allows a larger breathing room where Reid builds a stronger climax to the simpler hooks of the rest of the album and their catalog, for that matter.

The Contrast has an illustrious catalog to being with. It’s full of simple, jangle but ’80s angst mixed with a strong polish. The God of Malfunction is a standout in stretching out the guitar hooks and trying some new things. The big difference with the earlier catalog is that the music slows down more as if bridging the gap to other alternative genres, namely dark, postpone Brit Pop. As if a predictor to this change, the original version of 2000’s “Perfect Disguise” touched upon this expansion.

The God of Malfunction is overall, a great album, but it’s full of challenges for the ”60s garage faithful. It’s probably the farthest thing from garage, yet it shares many strong elements with those elements, adds in bad horror films, alienation and angst, but the biggest departure and new foray into power pop is the guitar hooks making the melody instead of the melody over the chords, which is more common for garage rock. Essentially, The Contrast have always made incredible, jangling, harmonious music that twisted up psych/garage roots with ’80s angst. They’ve always been extremely polished. The juxtaposition is trademark for The Contrast. They are a new era of power pop with elements drawn to make their music a life of its own that presents contradictions and constant reconsiderations.

The God of Malfunction is available in a wide variety of formats, including vinyl, at Wicked Cool Records
The Paisley Umbrella: The Contrast: The God of Malfunction

The Contrast’s new album God of Malfunction will be available for free streaming all this week on the below websites:

• Spinner Music: http://www.spinnermusic.co.uk/new-releases#/10

• The Street Date: http://www.thestreetdate.com/the-contrast-god-of-malfunction/ — this one seems to be USA only

• MSN: http://music.msn.com/music/listeningbooth/ a direct link to the stream is here.

Although God of Malfunction is the Contrast’s seventh full-length album, it is technically the British band’s debut for the Wicked Cool label. This album follows the 2008 career-spanning comp Perfect Disguise: Introducing the Contrast, also released on Wicked Cool. In that sense, God of Malfunction is a kind of rebirth for a band that — based on the lyrics in these songs — has obviously seen its share of ups and downs personally and professionally, which isn’t to say the band has forsaken its longstanding roots in ’70s-’80s new wave and power pop. On the contrary, lead singer/songwriter David Reid’s no nonesense melodic rock approach is well intact, and such songs as the sparkling opener “Underground Ghosts” and rollicking “Good Luck Charms” bring to mind well-earned comparisons to such artists as Elvis Costello and Rockpile. Similarly, such tracks as the chiming “Gone Forever” and the rocking title cut, like much of the rest of God of Malfunction, mix a kind of pyhrric last-ditch rock & roll energy with lyrics about how chaos — personal, political, or otherwise — often conspires to drive us nuts despite our best efforts against it. Reid sums up the notion best on the tour anthem “Coming Back to Life,” where he croons “I’m spinning my life like a silver coin/And everything fits, but you can still see the joins/And the radio saved my life tonight.” Sometimes music and an album like God of Malfunction can do just that.
allmusic ((( God of Malfunction > Overview ))).

What’s it like in a few words? The Searchers meet Smithereens whilst Prog meets Pop

The Contrast can always be relied upon to provide the listener with an album chock full of great ideas, signature harmonies and sonic goodies without any particular quirks other than maybe singer/writer David Reid’s downbeat vocal and affected pronunciations (moon becomes m’herne for example) which sits suitably at odds with the confectionist appeal of his opulent hooks. Although the pick and mix is changeable from one album to another, with gems dotted here and there, there’s no doubt that the highpoint to date was 2005’s ‘Forgot To Tell The Time’ where the band had finally made the record they’d been threatening for the previous five years since their debut in 2000.

Five years on the band has reached somewhat of a career hiatus with only 2007’s less distinguished ‘Underground Ghosts’, a label change to Steve Van Zandt’s Wicked Cool, plus an excellent but really (for fans) water treading compilation ‘Perfect Disguise’ to occupy. What’s important now is whether in 2010 their new album builds on the promise of that career high of five years past or are they merely languishing in the skids?

We commence with a laugh, a hollow reedy synth arpeggio echos Rattus Norvegicus IV period Stranglers as an insistent chorus rams the catch right home and seriously connects by the time you give the opener its third airing.

Next, the first and correctly chosen single ‘Coming Back to Life’ says Blondie so much I can almost hear the Debbie Harry cover haunting us impossibly from 30+ years ago – Underground Ghosts indeed. Definitely one of the strongest tracks on the album – a Farfisa-ish poppy organ drives a groovy short little mover to its logical conclusion enough to make you want to press the repeat button in an instant.

The third slice ‘Take Me Apart’ is classic new wavish 2 1/2 minute pop single material, but also takes in an early 60’s Gary U.S. Bonds vibe. Beautifully dressed, this has got all the important ingredients in one glorious concoction – a lovely, wobbly short sharp guitar solo, fab bop-bop-shoo-wop backup vocals and great drumming as is customary on all Contrast records. Undoubtedly, this should be the next single.

Elsewhere on our imaginary side 1 ‘I Am An Alien’ betrays some Prog allegiance as the distinct application of the antique theremin apes the same in Uriah Heap’s prominent whistling howl in ‘Sweet Lorraine’, whilst ‘Gone Forever’ has the Searchers written all over it with guitars all a-jangle and amazingly this screams “This should be the third single!”

Turn your iPod over and with title track ‘God of Malfunction’ we are right back in Prog land. Harmony guitars open, giving in to riffy lurches which seem to musically check Aqualung era Jethro Tull in a multitude of characteristics – only the flute is missing – even the subject matter is right on target. Nice one.

Moving along, ‘Better Than They Seem’ visits the Beatlesque psyche period somewhat via XTC and all who sail in her. ‘She’s A Disaster’ sports nice synth/guitar interplay a-la-raga rock and majestic, controlled, crushed drum fills from the incredible Thorin Dixon, who comes on like a caged Keith Moon.

Tussling between the Prog and the Pop ‘Thought You Were Strong’ emerges as a late favourite all riff heavy but more light alloy than heavy metal – thankfully!

I’ve not commented on David Reid’s lyrical content – I may be doing him a disservice here but I think he’d be the first to admit that he uses language for its sound and effect rather than its meaning, so I’ve long since tried to figure out what he might be trying to say to us – if anything.

However, the grand finale piece ‘False Admission’ grabbed my ear first time around more for a little lyrical trick before the music gripped on subsequent plays. We start with a nice dragging walking pace – an attractive guitar figure introduces the song and each verse. Impending drama is hinted as the song grows into moderate movie epic proportions, returns to walking pace and peters out to subdued feedback. As you begin to appreciate the song construction overall the lyrical trick staged around the title which rhymes ‘False Admission’ with both ‘badly written..’ pause and then also ‘fiction’ becomes less apparent, as do the lyrics themselves.

In my introduction I posed the question of whether the band was hitting greater highs or merely resting on past glories. After 10 years and 6 albums and little commercial feedback, it must get more and more arduous to keep pulling rabbits from hats. Well, I’m glad to report that the break, the move to a new label and the superb CinemaScope production of strong advocate and mentor Little Steven have made a difference. It’s very much evident that on this album the Contrast’s strengths have been expanded, highlighted and squarely aimed into a record which will prove to be their most polished, accessible, and best yet.

Finally, there’s gonna have to be a hundred or so better albums this year for ‘God of Malfunction’ not to end up on the Powerpop Review Best of 2010. You owe it to yourself to invest and give this hardworking band a well deserved place in the first division. Get ‘God of Malfunction’ – Out this Tuesday 13th April

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Cover: The album cover particularly recalls the prog sleeves of Roger Dean with its spindly long legged elephants not a million miles from their large eared flying cousins which adorned Osibisa’s first 2 or 3 albums from the early 70’s. Perhaps David Reid harbors some deep rooted Prog pretensions from his youth as do these two writers?

[From Power Pop Review: God of Malfunction - The Contrast Come Back To Life]