‘Mischief Maker’ is the second EP for Rafael Mendes-Browne after ‘Nanette’s Charm’ was released in February of last year. Having started as just an acoustic act, Rafael Mendes-Browne has come a long way, releasing two EPs and playing at some of Hull’s most renowned venues, like The New Adelphi Club, with his backing band The Lasagne Sunsets (Tom Terrington on guitar, and Joe Lancaster on drums). With a new plan of action, the Hull-based singer-songwriter is handing us something divergent of ‘Nanette’s Charm’. Left behind is the dreamy, transcendental, in his own words, ‘Flower Rock’ sound in favour of something much heavier, more energetic appearing more influenced by the likes of Bristolian punk rock band Idles, rather than the irony-loving alt-rock favourites, The Smiths.
1 - Back to Bed
This is a strong start to the EP with energetic drums and a late 90s, Foo Fighters rock feel to it, particularly in the chorus. We can’t forget the ‘1, 2, 3, 4’ that kicks the whole thing off, eager to tell the listener immediately that this EP will be nothing like the last. The interesting chord changes throughout the verses make Radiohead come to mind, evoking (as Radiohead are so good at) a sense of unease, angst and outright misery. However, here, this countered with the slightly punky vocals punching in every phrase with a certain determination.
Then, we reach the chorus - ‘I’m on my own now’ - a lyric you might expect to be set to something more dejecting than what we actually get - everything ramps up and we get a catchy melody and riff - a sense of ‘I’m (much better) on my own now’. In my opinion, there is more depth to be played with in the chorus; vocals could be layered or more forward in the track - this is a minor oversight, however.
At the end of the second chorus we get a little rhythm solo reminiscent of a Stones’ track with prominent heavy drums, followed by a break and a bass riff, which I could enjoy for another bar or two before the final chorus kicks in. This chorus, however, does come in with great power with two off-beat drum and guitar stabs. Great start to the EP, with the Blur-esque (not burlesque) ‘Woo’ that leads into the second chorus really ramping up the expectation of energy for the rest of the tracks.
Track 2 - Boy meets Girl
In we go with more Foo Fighter influence in the guitar. Just like ‘Back to Bed’ the production quality is high, but the vocals get a bit lost in the mix at points in this track. They are however relatable and chatty evoking a strong Britishness, like many a good early 2000s rock song managed to do. The opposing minor melodic scales in the vocals and guitar work really well together in the choruses, switching roles now and then. Perhaps because the story is lost under the instrumental a bit, I see the backing as the strong point of this song, pushing the track forward.
Simple, but I enjoyed the ‘la la la’ towards the end of the song. It almost feels like the end, in fact, but the random bursts of excitement in the vocals and the introduction of the clean lead guitar quickly build back up to a harmonic fall which leads into the melancholic outro with distorted guitar and cymbal details. I have to praise the guitar and drums in this track; there is persistent energy throughout the song that drives the angst we were introduced to in the first track.
Track 3 - Diplomacy
Something different, here. Think ‘Psycho Killer’ meets ‘Roxette’ meets ‘London Calling’. We’re presented to this change in pace by a great guitar riff intercepted by drum fills before we get to the conversing vocals and the off-centre, sullen lyrics:
‘I will talk, and you will talk, let’s all just talk . . . separately.’
This feels much more like a track rooted in 1980s rock and romantic throughout the verses and the ‘London Calling’ rhythm of the chorus, rather than the later rock influences we’ve seen in the two previous tracks. The pre-chorus, with a guitar lead that keeps the tension high, is a fitting shift from the verse, leading seamlessly into the chorus. The chorus endings are extended slightly before leaping back into the riff, adding interest, but it’s not so catchy as the first two. Saying that, the guitar riff (even the one under the verses) is incredibly memorable.
Track 4 - Lying to Myself
Immediately I think of ‘American Boy’. Immediate disclosure - this song is nothing like ‘American Boy’ by Estelle and Kanye West, but the first chord is the same.
Only fifteen seconds in and this track already feels like a reference back to ‘Nanette’s Charm’, the first EP. The verses are simple and summery and the choruses take a Beatles-y melody and throw it into a 2000s-style indie/rock sound. In an unusual turn of structure, we get a guitar and drum solo even before the second verse. Both pretty complex, both executed well, providing a heavy instrumental break before we go back to the smooth, distinguished bass line under the clean off-beat rhythm guitar stab chords. Some dreamy chords make an entrance here supporting the existential ‘I’m getting further from myself’. This song, apart from the unusually early instrumental break (which does work here), takes a more recognised approach to a rock song than the others and alludes to Rafael Mendes-Browne’s earlier work, a light break from the other weighty tracks in the EP.
Track 5 - Mischief Maker
Back to punk here, and, I hasten to add, pop/rock-punk in the chorus. The guitar is light, breezy; without the vocals, these verses would be evocative of England's one sunny day a year, like the last track. The sarcasm in the first verse with the apathetic ‘oh no’s turns into pure exasperation in the chorus, leaving the listener wondering if this is an observation of another person or a self-analysis. Whichever way it falls, the chorus is catchy and emotive. Following the second chorus, we get a 16-bar lead guitar and drum solo, obviously building us up to something. Silence, followed by a scream. I wasn’t expecting it, but it ended up being my favourite part of the song. It’s strong, yet awkward, and, surrounded by the unusual clashing chords and lead guitar, really gives an impression of pain and rage. The guitar solo, towards the end of the track, is built up hugely and ends so suddenly; there’s pent up energy that leaves you wanting more. Clever, because that’s where the EP ends.
This EP was an interesting listen, and I enjoyed it considerably. There is something different here; Rafa is experimenting with different sounds and expression, and it’s working in his favour. The tracks work well together, lacing this feeling of unease throughout, which let’s face it, many good songs do. I think there's a bit of work to be done with regards to production on getting the vocals to sit right in the mix, but I’d be interested to see the different liberties Rafa and the band take with these tracks live - longer solos, more screams, that sort of thing.
The EP is released tomorrow (Sunday 9th Feb) and will be available on all online music distributors and there will be a launch in the evening at the New Adelphi Club. Doors are at 8pm and tickets are £3 for students and £5 on the door. If this EP is anything to go by, the energy in the room should be electric and the gig unmissable.
Look out for more upcoming gigs as Rafael Mendes-Browne and The Lasagne Sunsets play their way around some of Hull’s best venues.
Follow Rafa on social media:
https://www.facebook.com/Rafasmusic/
https://twitter.com/Rafa_cakes
https://www.instagram.com/_rafari_/
https://open.spotify.com/artist/0qZ5gcAXlzVO5ufZUQyS4o?si=UcE5Vh4pRdavXJ8lqw7eAg
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