The 'Wired' EP by The Caroline Bomb
Review
When I reviewed The Caroline Bomb's EP ‘From the Back Room' about sixteen months ago, I commented on how each track was presented as a demo.
This was, I felt, a strength given the immediacy of their music and I felt the version of "Dead Eyed Nation" which we featured subsequently on ‘Hot Music Live Presents Volume Thirteen' told newcomers what they needed to know about the band at that time.
Since then, I've intermittently returned to the theme and in the context of various other artists pondered how well releasing "demo" versions serves the interests of their music. I think in each case, I felt that they made the right choice. My own instincts definitely favour the lighter touch in preference to over-production.
But here we are with The Caroline Bomb's ‘Wired' EP which features a new recording of one "From the Back Room' song in "Green ‘n' Knobbly" plus three new songs "Wired", "Marginalised" and "Chicken Pen" recorded at Leamington LAMP & mixed and mastered by Timothy Ellis of Jackdaw with Crowbar.
If you don't mind, I'll start with "Green ‘n' Knobbly" since it gives me a chance to compare the two versions of the same song & see what can be said as a result of the different takes.
Well it's definitely the same song and you certainly can tell the differences alright so that strategy works. Basically, it can be confidently said that the distinction between a homegrown demo and formal studio recording are easy enough to spot: though you'd expect that wouldn't you?
I appreciate that they played the song a lot live between the two recordings and we must factor their increased familiarity into the equation: not that there are major arrangement changes.
Certainly rougher edges have been smoothed off & the sound (both instrumental and vocal) is less abrasive. A big plus is the easier access to the words. The big question is not around difference but about whether they've improved the song: or at least our interaction with it. I liked the abrasion of their sound & there are plenty of great songs whose lyrics are not easy to fully discern. I imagine part of their attraction to their audience back in 2024 were these qualities. Given the nature & full force of their stage act, I question whether everyone is fully concentrating on processing all the words given the aural & visual distractions.
This is sounding an awful lot like me taking a long time to say "I don't know" and I think it's my duty as a reviewer to commit to an answer, so I'll say that if in doubt, respect the artistic choices of the artist and applaud them for progressing their music.
In fact, moving on from the philosophy of production, bands with something to say owe it to themselves and potential fans to spread the word as widely as possible. The Caroline Bomb have been attracting much attention on the local live circuit and the next step is to reach beyond that & give thought to first contacts with other people which are via recorded media not on stage. ‘Wired' is probably a better vehicle for this than ‘From the Back Room' which in hindsight might be considered as a gift to their fans as a reproduction of what they've experienced to take home & enjoy there.
This is a thoughtful, articulate band with excellent musical skills and sympathetic production such as this helps communicate these qualities.
The songs now have a bit more groove to them though if you feel you would like to write one called "Wired" (which is pretty outstanding here) you do have to leave the edges on it.
In fact this one does showcase really great bass & drum sounds as well as clear vocals & a warmer guitar sound. Placed at the start, they may well agree with me that as an introduction to the band for neophytes, it's the prime pick.
You probably could have bet that this band, given their lyrical interests might create a track called "Marginalised" and this one epitomises the thoughtfulness and detail of the writing as well as offering a signpost as to where they might be heading next musically: again the rhythm section is given a prominent role & it grooves rather more than the overwhelming onslaught of other (presumably older) tracks.
"Chicken Pen" is another curious case altogether: the lyrics and their delivery are more akin to the "no holds barred" rampages of before but come across clearly over a fantastic post punk riff based arrangement: almost rockabilly in style. If you would like a point of comparison (and you're going to get one), it reminded me of the thrilling & captivating work of the Au Pairs.
This is The Caroline Bomb at the new level I think & ‘Wired' is a fine calling card which will open new doors for them. It's conventional (and who likes convention?) is some cynical circles (including too many ‘proper' reviewers) to sneer at more polished releases following rawer debuts. You know the names which people get called: I won't repeat them. The Caroline Bomb are something of a cult band right now, but who sets the limit on how many people can be in the club? It's cool to be one of a few hundred initiated into such a secret but it's a bit selfish to resent letting new members in. I think ‘Wired' will tempt many in.
