The Violets - The Lost Pages

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Customer reviews
Press release

4...according to our Ant on Thu 22 Nov, 2007.

The Violets are some London pop punkers that create a decent old racket. Their 'The Lost Pages' album makes me think of a female fronted P.I.L at times. Especially the single 'Troubles of Keneat' with its big dub bassline. The rhythm section is pretty tight and the singer Alexis really belts it out in a Siouxie Sioux style. I think I'm repeating myself here from when I reviewd the single. I reckon these are a decent band and way cooler than the fashion victim bands emerging from the capital every week. The tracks just won't keep still, they itch, scratch and jerk all over the place. Gosh that last sentence makes them sound like a pervert with scabies. Which they don't. They've got tons of energy and bring a relativley fresh approch to the genre

The Violets release their elemental and triumphant debut album 'The Lost Pages' in November.
The Violets are four punk fantasists from London who set out to create a sinister mood with elemental and triumphant pop music. Drawing inspiration from a range of disparate influences such as Neue Deutsche Welle, David Lynch and French Coldwave, The Violets have created a monochrome corner of their own.
They began life as a three piece garage punk ensemble who could barely play their instruments, yet there was a vitality which belied their musical talents and set the band in motion, their overwhelmingly energetic live show and the imposing presence of blonde front woman Alexis Mary provided an intensity that was missing from the post-Libertines skiffle bands of London's live circuit. They play with stripped-down ferocity, they're earthshakingly powerful and equally spatial by turns. Guitarist Joe Daniel is Keith Levene meets The Normal. Although he lurks stage left, he is central to The Violets' show; it's the dynamic between him and Alexis that allows her Dali-esque visions to succeed. The rhythm section also works with a conflicting dynamic; Kris Kane's melodic basslines wrap themselves around the avant-hardcore of Andrew Moran's drums, working against each other to provide seductively awkward grooves.

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