The debut album from Ryders Creed, annoyed and frustrated me in equal measure.
To wit: “Indeed, there is every reason to suppose that Ryders Creed will write a classic one day. Their debut isn’t it, in truth, but there is enough promise here to get excited at the potential.” Was my conclusion.
I got plenty of stick for it, as it happens. One of the kinder responses was: “terrible review lol” (there were a few more swearwords when I enquired on Twitter as to what was funny) and there was a some argument on Facebook as to whether I pleasured myself with my left or right hand, or something (I don’t have Facebook so I didn’t respond there), but the thing is, I stand by it.
Ryder’s Creed, it was obvious, were talented. They were better than that. You knew they were. What I wanted from them, instead of dated sexual references, was a record that proved their undoubted talents.
It’s here.
If you want a glib line, they are “Lost Souls” no more. They are focussed, streamlined (they are now a four piece) and they are as mature as they are classy.
I kind of want to say something inane like “its like listening to a different band” when “Memories” starts up, but its not quite, because there were some real moments of class on that debut too. It’s just here, they soar. Ryan Anthony, the band’s leader, has excelled on this track.
Broadly speaking, where they once wrote songs, they now write anthems. With real gravitas and depth. “Unleashed” has a touch of the arena about it, the chorus explodes. “It’s time to let the whole world hear my voice” sings Anthony here, and one thing you know is he means it. Every word.
Myles Cooper on guitar finds some proper riffs, the title track (give or take an “s” anyway) does some mid-90s, “Ten” era Pearl Jam loud/quiet dynamics, and although it’s only two minutes long, the atmospheric instrumental “New Beginnings” in many ways exemplifies the brave new world (the “new normal” as we now are duty bound to say?) its confidence exudes from every pore.
It leads into “Believer” with its mournful, bluesy lead, which builds and broods and tries to revive the power ballad all at once, while “Fear The Fear” gives this a bit of a swagger that it hasn’t got as much of as you think.
“Chasing Dreams” is one of a few here that clocks in around the six minute mark, which is unusual, as many bands many of their obvious peers, indeed go for the three minute pop song, Ryders have gone against the grain.
“Meant To Be” is a real interesting piece, an oddly discordant opening, and a massive groove, the inference that out of the darkness cometh light, or more likely, to dare is to do, and this dares.
“Cut Me Down” has a kind of Alice In Chains low riff and eerie harmony, “Hand In Hand With the Devil” is rather like that plethora of Midlands bands who get down in the swamps (Doomsday Outlaw spring to mind) for a fun little romp, while “Money” ensures the album ends on a rousing note.
“I dream success, burning in the mattress, I sleep on it” says Anthony here. He doesn’t really sing it, it is more a statement. That ambition was all over the live shows too, which, actually was another reason why I always thought they had something more.
“Lost Souls” is the proof they do. And you know what? I am still saying there is more to come, but this, for me at least, feels like their true selves.
Rating 8.5/10
