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

• 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 _____________________________________________________________ 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]

Where does Steven Van Zandt find these bands? It’s easy to imagine the Springsteen sideman and Wicked Cool Records founder prowling around with his ear pressed up against strange garages, listening for the vague strains of Hammond organs and Rickenbacker guitars in his never-ending quest to keep rock ’n’ roll alive. Van Zandt made his way to the UK for his latest discovery, The Contrast, whose founder and lead singer David Reid hails from Glasgow — apparently by way of Liverpool, Memphis, L.A., the Brill Building and Asbury Park, judging from the variety of influences that make up the pop mélange on their new album, “God of Malfunction.” And The Contrast — around since 1999, with the new album being their first of new material on the Wicked Cool label — has found a winning formula with Reid’s laconic vocals, the band’s exuberant backup singing (it seems they’ve never met a “bop-shoo-wop” they didn’t like) and an unabashed pop sensibility planted somewhere between the Spencer Davis Group and The Knack. (With a little bit of the Ramones thrown in, because I think that’s a requirement before they let you take the Wicked Cool oath.) The album kicks off with an incredibly infectious trio of songs: “Underground Ghosts” starts things off on a driving high note, thanks to Thorin Dixon’s assured percussion, and “Coming Back to Life” offers the album’s catchiest couplet in “We are strange, getting stranger; we want change, we’ll screw the danger.” I have no idea what it means, but set against Kieran Wade’s carnivalesque keyboards it fuels the liveliest anthem you won’t hear on the radio this year. The party continues on “Take Me Apart,” a rave-up that sounds like Freddy Cannon covering Cheap Trick’s “Dream Police.” Even when you think the space noises and echo chamber effects of “I Am An Alien” threaten to derail the proceedings, Reid’s unlikely sincerity saves the song from detouring too far down the road to cheesy. The momentum of the album’s first half would have been tough to sustain, and while the Byrds jangle of “Gone Forever” is perfectly pleasant, things do get dicier on the proggy title track and a few others — like the sluggish “Better Than They Seem” — that seem to be going for moody but just come out murky. And while the label touts the album’s “Eno-esque ambient textures,” there are more than a few moments when Wade in particular seems to be trying a little too hard to get out of the garage rock box — he sounds like a demented Tony Banks impersonator. Still, they successfully go darker near the end with the ’90s-tinged guitar rocker “Thought You Were Strong,” and on the whole make you hopeful for Van Zandt’s burgeoning garage rock resurgence. The Contrast deserve comparison to the Gaslight Anthem with their pounding drums and penchant for “splintered good luck charms and fast cars,” and I hope they see some of the same success. “God of Malfunction” may not be the most sophisticated album you’ll hear this year, but it may be the one most likely to help save rock ’n’ roll. The Contrast, “God of Malfunction,” Wicked Cool Records, April 13. [From Album Review: The Contrast, 'God of Malfunction' - Waltham, MA - The Daily News Tribune]