Bethan and Huw; Radio 1

Swiped from their Dirty Kicks album, this storming anthem is one of the finest cuts from such a long-player, brimming with explosive energy, and locked and loaded with guitars naturally cranked to the max, resulting in a battering wall of sound off which the singer's voice-to-die-for valiantly bounces. D'ya Feel Lucky? is both inescapable and essential, before the b-side in Be Alone (which also features prominently on the aforementioned album) proves to be just as exhilarating and rip-roaring a rock 'n' roll tune, breathlessly staged from the first to the final note. This release is in fact the band's debut single, and it's clear to see that these lads know how to knock out flawless melodies, and to rock in style. Consequently, a great future surely awaits The Fondas - should good luck prevail.

This is ull

 
Picture this: you're at your local club substitute of The Garage, Barfly or even King Tuts (as applicable), you know the feeling. Anyway that's you, there on a particularly uninspiring night staring down the barrel of another four-band bill. You:

a.) Wonder if you can make it through the end of the night and
b.) Debate why you actually paid money to see these bands.

Suddenly something occurs that signals the start of a mind shift. Maybe it's a cute guitar riff, a glimmer of melody, you don't know. Actually, you would struggle to pinpoint the exact moment when things started to change - all you know is that things definitely have changed. You cast aside any such existential thoughts and remain thankful for small minor miracles.

Anyway, I digress, wary of such melodrama. The point I am trying to make then is that The Fondas are such a band, the epitome of every act that's ever cheered up a dreary festival bill.

In the best possible sense, they make straight ahead, non-self-conscious rock music. Additionally to borrow the vernacular of a would-be football manager, the boy Ward can sing. His voice has both depth and character and at one point contains a nice Gallagher-like sneer, melding with interlocking guitar figures on such tracks as 'Only Love Is Left Alive'. 'Get Out' meanwhile appears to condense the best elements of Britpop, with a poppy, engaging bass line throughout. 'Mamas Arms', appearing later in the album, ups the tempo, and is as catchy and anthemic as Springsteen at his best - this song in particular serves as a prime contender to energise a dreary night. Other interesting departures are witnessed on 'Sleep' via the use of a effects soaked guitar which helps to raise the song above the pedestrian. Furthermore, whilst some songs appear dominant on first listen, perseverance is rewarded as each song on the album helps to build on the last and projects the overall sound of the band, making for a strong consensus.

The Fondas appear to be on a winning path, then. With chiming guitars, colourful vocals and strong arrangements throughout they're a guilty pleasure, that no one need feel guilty for. While they might not be a marketable, irony-tinged act a-la The Darkness, they're just an honest band doing what bands do and, in their case, doing it well

John Tonner

No Ordinary Music