Brakes USA Tour reviews + pics

Scroll down to Great Scott, 7th October, for videos of Ring A Ding Ding, No Return (which features both White brothers on breath-taking guitar…) and Porcupine Or Pineapple. Also Jackson at Hi-Dive, 15th October. Click link for a Brakes photo…

SOUTHPAW, Brooklyn, New York – 2nd October (scroll down for photos) More photos The Fat Cat showcase continued with Brighton’s Brakesbrakesbrakes and their set of sturdy rock numbers included cute 15-second songs like “Spring Chicken” and “Porcupine or Pineapple” played a second time after guitarist, Tom White admitted he “fucked up the chorus.” White was the most entertaining of the quartet, thrashing about and raking his guitar violently along the mic stand.

NORTH STAR BAR, Philadelphia – 3rd October – Only the throwing of wads of cash would’ve made the punk-pop evening at the North Star Bar – featuring England’s Brakesbrakesbrakes and the Glaswegian twin bill of the Twilight Sad and We Were Promised Jetpacks – better.

The second act, Brakesbrakesbrakes (a.k.a. Brakes), didn’t – put on the brakes, that is. While Tom White played a forceful, fuzz-toned rhythm guitar, Eamon Hamilton crooned with a handsome yet brusque voice. Tracks like “Hey Hey” were thrilling, danceable pop-punk of the highest order. When Brakes did chill for a moment, on the soft and roomy “Don’t Take Me to Space (Man),” the rest didn’t last, as the song’s bridge was but a gateway to a ruckus. Brakes (or as they are known in the states BrakesBrakesBrakes) took the stage with a much more seasoned and assorted set. Drawing from the talents and experiences of a group consisting of members (or past members) of British Sea Power, Tenderfoot and Electric Soft Parade the band has a lot of internal influences and it was evident in their live set.

Brakes, compared to WWPJ, have a much more weathered and varied sound. They wavered between a raucous and snarky punk side and a more traditional alternative delivery. Songs like Hey Hey are infused with energy and performed accordingly while simpler romantic pop songs like Leaving England/First Dance were given a low key and tender treatment. Eamon broke any predictable pattern by dropping off beat tunes like Porcupine Or Pineapple and a cover of Johnny Cash’s Jackson into the line up. As they got further into their show their quality and ease became much more apparent.

BLACK CAT, Washington DC – 5th October After brief shifting of equipment and gear, the stage was set for the arrival of Brakesbrakesbrakes. In my head I’ll always think of them as Brakes because that’s what they’re known as everywhere in the world except America (courtesy of a Philadelphia band who had already called dibs on the Brakes moniker here in the States), so they will be referred to as Brakes for the rest of this review. Of the three bands, I’m most familiar with Brakes’s back catalogue, and they’ve never played Washington before, so I was excited to say the least. Their third and latest album, Touchdown, was released back in April.

They’re an extremely versatile band, with songs running the gamut from folky, country rock (”On Your Side”) to punk (”Porcupine or Pineapple”) to more straight forward rock ‘n’ roll (”Don’t Take Me to Space [Man]“). Singer/guitarist Eamon Hamilton led Brakes (with Thomas White on guitar, Marc Beatty on bass, and Alex White on drums) on a rousing set of 16 songs across their three albums. “Hey Hey,” a raucous, guitar-heavy tune from Touchdown, was a joy to hear live finally, along with “Don’t Take Me to Space (Man),” my favorite off the new album. One enthusiastic fan exclaimed that being that we were in D.C., the band had to play “Cheney,” a song from the band’s first album Give Blood; it’s a five-second tirade against our former not-so-beloved vice president. Hamilton rewarded the fan by asking him to “count in” the song for them. It went over so well that another fan was chosen to do the same, to even louder audience cheers. – BrakesBrakesBrakes, or better known as Brakes in countries without lots of lawyers, also put out a fantastic album this year, Touchdown. Continuing their genre hopping, the band played a record amount of music. Since many of their songs are short, and fairly stylistically varied, they were able to really switch it up, song after song. From punk to indie, to country to acoustic ballads, nothing seemed out of the realm of possibilities. After playing 11 or 12 songs in 30 minutes the band settled down and the remainder of their set included the gorgeous “No Return,” one of the few songs all year that struck me this powerfully. Given their attitudes and the frantic energy they play with, it is really hard not to love Brakes.

BOWERY BALLROOM, New York – 6th October Edwina was more familiar with Brakes (Brakesbrakesbrakes in the US due to a band name conflict) and it was their inclusion on the bill that made her eager to catch the show. She spoke of their funnier songs such as Porcupine or Pineapple and Cheney, a blast of noise about Dick Cheney. What she didn’t talk about much was the wit and strength of the band as they eased their way effortlessly through genres varying from disco to post-punk noise rock to instances of Eamon Hamilton on guitar just conversing directly with the audience.

The songs were put together easily enough, and never drowned out the vocals which was grand because even the songs which you’d expect to be throw away novelty tracks would usually contain bits of wit sung with great aplomb as Eamon would pull faces that brought to mind Woody Harrelson portraying Popeye the Sailor and gave every song a bit of a bitter angry undercurrent in the performance, though to assume that Eamon was the only band member of note is a mistake. Tom White the guitarist managed to talk his brother, Alex, into performing a Soca drum solo that segued into the final three songs of their set.

Nearly every song was a stand out track and if I’d had the money, I would have cleaned out the merch table. There are a number of videos of them on YouTube, and you could certainly find a worse way to spend a half hour than by going through them.


Flickr: Set OneSet TwoSet Three —  Brooklyn Vegan (scroll down)

GREAT SCOTT, Allston – 7th October (with photos) First up, Brakesbrakesbrakes, for the purpose of brevity hereto know as ‘Brakes’ (another band by that name requiring the U.S.-only name change). Those who arrived early had a nice treat. For myself, a Brakes virgin, delightful and somewhat unexpected quirkiness, craziness, and fun mix of styles. Slow pretty tunes with lovely, flowing melodic guitar supplied by Tom White. Who then turned on a dime into a madman, leaping about in search of ‘found objects’ – a beer bottle, the mic stand – to use as a slide. Seemingly random and erratic, yet amazingly precise, perfectly harmonizing with Eamon Hamilton’s equally crazed and powerful vocals, with the incredibly sharp rhythm section of Marc Beatty (bass) and Alex White (drums) giving them a solid base and safe haven from where to shoot off, in all directions. At one point when Tom was especially lost in the moment (along with the rest of us), the cord came unplugged from his guitar. With mild amusement but truly not missing a beat, he waited until just the right moment a few seconds later at the end of the song to plug it back in with dramatic flourish, the resulting sound so perfect, that while it seems so terrifically silly, that was the defining moment that cemented it for me. I love these guys.

EL MOCAMBO, Toronto – 10th October

chromewaves.netphotos here Tom White obviously having a grand time abusing his Telecaster as Hamilton brayed intently while being equally hard on his acoustic. I had thought Hamilton mad when he gave up his gig as keyboardist/drum-banger/rabble-rouser for British Sea Power but it’s pretty clear now he knew what he was doing. (with photos) The UK’s the Brakes started the evening with an adrenaline boosting set of super-catchy pop songs. Fronted by former British Sea Power member Eamon Hamilton, the band formed in 2003 and has toured with the likes of Belle & Sebastian and the Killers, their experience evident both in ability and crow-pleasing interaction. – They have a stunning ability to jump right from ballad material into high-speed, throw-down straight up rock songs; exhibited by an extended version of their new single Don’t Take Me To Space (Man), the upbeat, rather optimistic song progressed into a lower key, dirge style haunt before picking right back up and blowing up the venue for a stunning climax. Guitarist provided a slew of kicks throughout the show, advancing the belief that happy music can still be aggressive.

EMPTY BOTTLE, Chicago – 12th October

undergroundbee.comphotos here I’ve been a fan of Brakes since the band released Give Blood in 2005, and the group’s latest CD, Touchdown, is another strong recording. Opening Monday night’s show, Brakes slammed through a series of quick songs, tossing off these punk, post-punk, country and rock gems like musical haikus. Several of the songs end abruptly, as soon as Brakes have said everything they want to say. The shortest song of the night was so short that Brakes played it twice: the 2005 political commentary “Cheney,” which consists of about 30 seconds of the name “Cheney!” being chanted over and over followed by the eloquent plea: “Stop being such a dick!” The band also threw in a cover of Camper Van Beethoven’s “Shut Us Down,” but the highlights were some of the now-classic songs from Brakes’ 2005 debut and new tracks like the catchy “Don’t Take Me to Space (Man)” and the wistful “Leaving England.” Somewhere into the second or third song I became absolutely transfixed by Thomas’ guitarwork. Yes, regular readers, you know what he was doing. Aside from the usual bits necessary to be played in order to fulfill the song’s requirements, he would, towards the end and in the small solos taken in the middle, move between the amp and front facing speaker so as to manipulate the sound. That always makes me a bit woozy. And if you’re an aficionado of this feat, you also know that some artists do it with considerable more skill than others. Thomas was a master at throwing out just the right note for just the right amount of time and letting it hang there to be looped back around in an infinite circle of sound, deteriorating with every second that it reverberated there. I ambushed him after the set and demanded an explanation, of course (visit the blog to read more)

HI-DIVE, Denver – 15th October

KILBY COURT, Salt Lake City – 16th October – photos at BrakesBrakesBrakes has evolved into something of a dynamic, if hard to pin down, rock band. Live, their sound is as slippery as it is on record, sliding from an arena-rock Beatnik Filmstars on the more “indie-rock” numbers to Clinic-gone-country on the acoustic songs.

It’s all good fun, though, and their setlist equally covered all three of their albums, opening with the stomping “All Night Disco Party” from their 2005 debut. They played a lot of bouncy upbeat numbers like “Ring a Ding Ding”, “Spring Chicken”, and “Hey Hey” – the highlight of the set was probably a blazing version of “Don’t Take Me To Space (Man)” from their latest studio release, Touchdown. They rounded out the set with some folkier songs like “On Your Side” and “NY Pie”, one of my favorites from their first record. They seemed to be in good spirits as well, in spite of the low turnout.

RICKSHAW STOP, San Francisco – 21st October (click for full review + pics) As anyone who reads this blog knows, I can be a loyal listener, and once a band or an artists gets under my skin, I want to support them for as long as I can. It doesn’t hurt when the performers in question continue to kick around the club circuit, even flying in from overseas and traipsing all the way to the western edge of this country to do so. Chalk one up for Brakes on each of the aforementioned counts.

The fuller sound of Touchdown translated quite well to the environs of the Rickshaw Stop. Among the newer songs, “Don’t Take Me to Space (Man)” swept through on a refreshing breeze that characterizes much of the record, while “Leaving England” carried some poignancy when Eamon informed us it was based on a true story.

Those of you who’ve seen Brakes in concert before may be heartened to know that other elements have remained the same. They made use of their last moments of stage time with not one but two–two!–takes of “Comma Comma Full Stop.” The paean de punctuation forever endears them in this copy editor’s heart, but apparently, I wasn’t alone in feeling its pull. The song was so explosive that guitarist Thomas White had to descend from the stage and plant himself on the club floor, as if to ground himself from the tune’s full force. This time, at least, he lived to tell.

Brakes on BBC 6 Music + May shows

Brakes had a session on BBC 6 Music (29th April) They also talk to Cerys Matthews.

Brakes BBC 6 Music Session – Tracks: Hey Hey and Why Tell The Truth (When It’s Easier To Lie)

There’s some brilliant live footage from Brakes tour on youtube especially What’s In It For Me, from Oxford, 23rd April: watch here

BBC 6 Music broadcast a few songs from Camden Crawl, though the quality isn’t as good as the session above, Jackson is worth a listen (posted in the Fan Blog) Watch All Night Disco Party here

Brakes Fan Footage

HEY HEY with live fan footage from King Tuts, 19th April: WATCH HERE

Videos from Oxford, 23rd April:
What’s In It For Me
Isobel/Don’t Take Me To Space (Man)
Cease & Desist
Porcupine Or Pineapple

TW Blog 18th April: Well, we all enjoyed a much needed day off today. Actually it was a partial day off as we had a wee instore at the lovely Avalanche record store in Glasgow. Good it was too. The tour’s been grand so far – Manchester and Leeds being the definite highlights up to now… King Tut’s tomorrow (see video here) where we’re joined again by our favourite Glaswegian buddies Le Reno Amps (last seen wandering off into the Hull night…) for the last time on this tour. Fun times, indeed! TWX

Thomas on BBC 6 Music interview + latest news

Thomas had an interview on Chris Hawkins BBC 6 Music show last week – Listen Here

He talks about Brakes and here’s their recent acoustic session + interview with Q.

Tracks are Hey Hey + Why Tell The Truth – Listen Here

TW Blog: On Thursday, I had an extremely positive meeting regarding my up-coming solo record. I can’t really convey how exciting this is for me, having suffered some rather shitty setbacks along the way. Anyway, the album is a proudly unfashionable affair – 12 tracks, far heavier and more sonically robust than ‘I Dream Of Black’… a perfect step forward, one hopes. I can’t divulge much more information at present, but as and when deals get signed etc… I shall let you all know. TWX

Updates: Alex + Thomas White / Restlesslist

Alex White is currently stand in drummer for The Official Secrets Act and they have mentioned him a few times in their Myspace Tour Blog

18th March: We’re now back in the flat (flats in berlin are absolutely awesome, Peaches used to live in the flat below the one we’re in) listening to Jay Zs Glastonbury set with our stand in drummer Alex White of Electric Soft Parade/Brakes fame.

13th March: We are standing at the top of the tower of the Dom, Cologne’s super famous, super impressive, gothic cathedral. Alex, our stand in drummer, surveys the bell towers and suggests that religion seems to inspire the most noble and the most foul of human achievements.

Thomas writes: Firstly, may I say what a fab time I had touring with Mr. Patrick Wolf (myspace) An absolute pleasure from beginning to end. You can get the gist from the many videos of the shows posted up on YouTube. Personally, my favourite was most definitely the Heaven show – by that point the band had really started to gel, and everyone properly leaned into it. Big shouts to the whole team for making it special – Patrick, William, Jon, Nick, Vicky, Marcello, Laura and Nick – legends in their own lunchtimes, as they say.

Link: Patrick Wolf at Heaven on youtube

In other news, I must give a quick heads-up to you folk regarding a couple of Brighton-based happenings this coming week. Firstly, we have Stuart Flynn’s Birthday Extravaganza at The West Hill Hall (myspace) this coming Saturday (the 21st). Proceedings will begin around 7.30 and will invariably involve the usual reprobates. Job’s a good ‘un.

Stuart Flynn writes: The Dirty Cakes long awaited CD release gig + extra special support, like a musical truss. ps The lie gets bigger by another year at this, as it is also a birthday show! Join me and my friends, an array of songs and devilry as we fluctuate between celebration and commiseration. Heaven knows there’ll be surprises! (show is free)

Then we have a Restlesslist show the next day (the 22nd). This one could be a little strange – for anyone who knows Brighton well, the venue is somewhere next to the Majestic wine shop, in the arches underneath Brighton Station. Not directly under the bridge, but ’round the corner, if that makes sense! Also appearing will be The Bobby McGees (myspace) and Mr. Jack Cooper (myspace) The whole she-bang should be starting around 8.

Restlesslist write: Matt here with some news. Having returned from Coral Island, the band formerly and currently known as Restlesslist are back in/on the ether with a whole load of new material and our itchy eyes are looking to be in a town soon. This month, there will be a couple of London Shows (to be confirmed), a gig in the arches under Brighton station (22nd March) and another session with our friend and chief plugger, Marc Riley on BBC 6Music (30th March). We will also hopefully be planning more gigs throughout April and May and a new single sometime soon. Also, I (Matt) have been recording Brighton trio Foxes! debut album, which is out soon. They are touring in April joined by me on extras. Check out the dates on their myspace and come down and see us. Very good stuff! More vagueness soon. Happy happy joy joy. Matt x and Restlesslist

Thomas White writes: I will leave you with the news that my forthcoming second solo record has finally found a home. At present I can’t disclose any other information, other than that it is finished, and when I get a minute to myself, I shall put the darn thing out and do the right thing and come to your town and quite possibly play some of it. Good times. TWX

Touchdown fan review

Just give me some of that rock n roll music…

Touchdown starts off with Two Shocks, which includes some of the best lyrics since Thomas White’s Devil In A Trojan Horse…

All I grew was disillusioned and a little bit older
I soon discovered it was impossible to stand up without being attacked
So I covered my body in vaseline and learned how to slip through the gaps
I soon discovered it was impossible to stand up without being shot
So I covered my body in bacofoil and waited for the sun to come out

They said this is the first proper Brakes album and that it’s their most cohesive. On first hearing it, you know exactly what they mean. On adding the final touches, “putting the ‘fucking fairy dust’ over the new Brakes record” was mentioned. That’s one way of describing what’s special about this album.

I think it’s their best yet and already favourite tracks stand out to me especially Crystal Tunings, the song given away as a free download and titled Oh! Forever on the album. One of the catchiest songs on here – timeless musical beauty – it emits the feeling of pure joy; Brakes starting afresh with renewed energy. A song to instantly lift your spirits, sounding like it was created in a more carefree, happy time, when all you needed was a record player and a stack of vinyl; just you and the songs, in a world of your own, before you discovered harsh reality.

This upbeat mood shines elsewhere on the album, especially Crush On You; the abstract lyrics intrigue. Listening intently, you’re transfixed by the musical hypnotism.

Worry About It Later is the prettiest country folk with lyrics to captivate…

It’s easy to blame chaos on the ones with cloaks and daggers
Who push the hidden hands that hold the strings of ultimate control
When you ain’t got none

Red Rag is backed with a frantic drumbeat which punctuates the song, the guitar and vocals follow with a sense of urgency, shattering the beauty elsewhere. This track is a pure release of pent up energy, the lyrics unintelligable but at the same time just as vital as the noise they’re creating. Their Porcupine Or Pineapple moment and just what their fans love about them. The only thing I can liken the vocals to is Kurt Cobain at his most ferocious. Musically, there’s rather a touch of Thomas and Matt’s new band Clowns (myspace) A whole album of this stuff would be quite cathartic especially with drums like that!!

Eternal Return has a swinging backbeat, pure hillbilly, conjuring up images of Brakes sitting on hay bales, strumming guitars with a foot tappin tale of woe.

Every life that I’ve been through has been no good
Every breath I’ve ever breathed has been misunderstood

Do You Feel The Same? The icing on the cake is the guitar line, instantly recognisable from the Brothers White other major concern and puts a knowing sparkle in your eye. If Alex’s beats made the last 2 songs reviewed, Thomas adds a touch of magic here.

Ancient Mysteries is a story about the kind of people featured on certain daytime TV Shows, detailing the lives of various trailer trash (without typing out the lyrics is the easiest way to describe it) You somehow feel you’ve heard it all before (that’s because you have) and then the chorus comes in and brings beauty to the tale; a musical backdrop to their lives – you imagine this song playing on the radio as the story unfolds.

Why Tell The Truth (When It’s Easier To Lie) The chorus cuts in with a faster tempo, with a chord change stolen right out of The Beatles in Hamburg (is the only way I can describe it) And that’s a very good thing… Here’s the session version from BBC 6 Music (listen here)

Leaving England is another song with a country twinge and the sweetest chorus, with what sounds like Thomas on backing (he contributed to Oh! Forever on 6 Music – listen here) Probably because 2 vocals work so well together, I’d like to hear more vocal contributions on Brakes recordings (also at the end of this song is a hidden track)

Don’t Take Me To Space (Man) The lyrics are a heartfelt plea to another lifeforce; “I don’t care that this world’s corrupted, I don’t want to be abducted”. Though he’s already got the spacesuit just incase; here’s the evidence

Hey Hey is fast and furious; “the ship was sinking but it wasn’t yet sunk” (which is a good job because there are moments not to be missed on this album) Here’s the session version from BBC 6 Music (listen here)

Touchdown is more than enough until ESP’s return. You may miss those Brothers White vocals but the intensity is sure as hell still there. The most important thing is they’re enjoying themselves again. They know how lucky they are to be able to get their music out there; they’re not taking this for granted, they’re savouring every second. Brakes ceased to be an ESP side-project a long time ago, to me their music was always equally important.

ESP have hinted they may work with Paul Savage at Chem 19 studios in Glasgow for their next album; if this is the result he’s had with Brakes, you can imagine how they’ll benefit from his input. That’s an exciting thought to end on. When you listen to this album, you can only dream of the wonders they’re going to create… because this IS the best album Brakes ever did.

Brakes interviews

Interview by Paul Duffy – read in full at SoundsXP – here’s a few quotes from Thomas…

Possible songs they could do in future: “We’ll get Obama in there somehow man, even if it’s positive. It would be good to do a positive political song soon with our slant on it of course”

Credit crunch tips: “As a musician I guess it’s no good just carrying on as before. Alex has been busy working in advertising, to just keep going to release a new record. All of a sudden Brakes is ticking over again which is great, but as soon as you stop working again you see it all dry up. I end up falling into working on music for others which helps but it is difficult”

Brakes were also recently in The Argus and here’s some quotes from Thomas and Alex.

Thomas: “Right in the middle of the credit crunch we made a new record, signed a new deal. If you can still get work and scrape by you’re all right”

This latest record has seen Brakes take a little more time, spending three weeks recording with former Delgado drummer Paul Savage at his Glasgow studio Chem 19. Making the album they also formed a good alliance with their producer.

Alex: “We had a real symbiotic relationship with Paul. He was always up for driving us home, and in return we would cook him dinner”

Thomas: “Having a meal together round the table each day was a good break. It is the basis for a good family”

The experience was so good the Whites are considering using the studio again for the next Electric Soft Parade record.

Thomas: “It’s going to be a double album, but with only about 100 copies made”

Alex: “We’re calling it Blue Music. It should be out at the beginning of next year”

Until then the Electric Soft Parade is on hold for Brakes, with the brothers only planning to play one ESP show this year – for their uncle’s birthday.

Thomas: “We learned from putting the last Brakes and Electric Soft Parade albums out at the same time. We ended up promoting two records, because the releases overlapped. We were doing two shows a night in the US”

Thomas: “I think it might be the most cohesive (Brakes) album we’ve done. It doesn’t jump around – it sounds like the same band throughout whereas our other albums sound more like compilations”

Alex: “It’s the first proper Brakes album. People would say that the first album is the quintessential Brakes album because it’s the original sound, but to me a lot of the sounds are quite amateurish. It’s quite simple, silly frivolous stuff but played by good musicians, which gives it gravitas. With the second album we were trying to top the first one. This time I feel like we’ve morphed into something else. There are no songs on there that are a minute-long or silly. We had a couple but we took them off – they were there because ‘that’s what Brakes do’. We wanted to turn that on its head. In fact we decided to make the first track [Two Shocks] four minutes long, to change it up and to show we can do a serious album as much as any band. Not to slag the old stuff off, it’s just a different headspace”

Me: On hearing the album, my first thought was that it’s the best thing they’ve ever done. My second thought was, if this is what Brakes sound like under the guidance of Paul Savage, what on earth’s the new ESP album going to be like… third thought which only came to me whilst typing this – Paul also worked on the new Thomas White albums. We are in for some treats, that’s for sure. I’ll attempt an album review soon. Emotionally, I was reminded of the first time I got a Nirvana album; totally full of awe and wonder. That’s how music’s supposed to make you feel.

Here Comes The Sun…

I had already dared to wonder if there could be a track to rival Oh! Forever on the new Brakes album. There may well be…

From Two Shocks

All I grew was disillusioned and a little bit older
I soon discovered it was impossible to stand up without being attacked
So I covered my body in vaseline and learned how to slip through the gaps
I soon discovered it was impossible to stand up without being shot
So I covered my body in bacofoil and waited for the sun to come out

Oh! Forever

Following on from the previous post on Crystal Tunings – it has emerged this song has another title – Oh! Forever – and I prefer the session version to the one they painstakingly made perfect in the studio (this is a fan blog, I can) I don’t know if it’s the dual vocals but there’s something slightly Libertines about it, before Thomas kicks into a guitar line he probably memorised way back when Brothers White reviews namechecked Oasis (but were of course better) In actual fact, Brakes sound just like BRAKES and no-one else. And you never want them  to split up, no matter what’s thrown at them. They’re too good. I know the majority of ESP fans are probably thinking, just give me the new ESP album, I don’t care about this. Well, you should. I also hear echoes of the very early Beatles in the recent session tracks; shambolic, probably extremely merry but at the same time brilliant. They deserve a thousand fan blogs from the heart. I honestly have no idea what’s in the charts at the moment but they should be although this song isn’t a single (it should be) So, play this gorgeous little gem on repeat OH FOREVER What they said… – “Of the new offerings Crystal Tunings closes the set and is menacingly excellent” – “before they go they play the beautiful ‘Oh! Forever’ which fills the Foundry with its epic swelling rock noise and the simple refrain of I know it’s you / I know it’s true / Oh! Forever” – “listen closely, and you’ll hear the subtle intricacies of Tom White’s guitar lines which set Brakes apart from the traditional power-punk pack, much as Andy Summers put the Police into their own league in the post punk era”