“Believe In This” by Collisions is like a great wave of sound that picks you up and carries you along at a frightening pace. The raucous vocals, heavy guitar, bass and frenetic drums are the sound of a hardworking, exciting band. Call it garage pop, rap metal or hard rock, whatever you choose, it’s good: like the soundtrack to a big night out – energetic, emotional and at times just a little bit dangerous. The cover art speaks volumes about the music: a woman with headphones connected to her heart.
Played live and at sufficient volume, it’s music to take the roof off. The garage pop idea suggests a definite dance vibe, which is certainly very much in evidence here; but this is not the mindless noise you hear blaring from open windows of pimped hatchbacks outside your local burger joint; there is intelligence, song writing and passion here. The lyrics – either when pushed to the fore or subsumed more into the overall mix, offer as much to think about as the music.
The fact that the band crosses over genres – rock and dance – is a definite plus, taking what’s good about each one and forcing them together in a musical explosion. There are sing-along choruses (“Believe In This”), fast garage beats combined with rap metal riffs (“Fire Fire” and “Push”) and lyrics you want to listen to (“Chasing Forms”).
“Believe In This” is a standout song which, if there is any justice in the world, should by rights be troubling the singles charts. It provides a strong start to the E.P. with chunky riff and a great chorus that assaults the listener and then lodges firmly in one’s head (I’ve been humming it all week). “Fire Fire” is like Rage Against The Machine set to fast dance beats; the band’s passion is clear from the total commitment of the delivery. Collisions don’t do half measures.
“Chasing Forms” takes the energy levels down a touch in its introduction before the chorus brings heaviness back into the mix. “Push” is a staccato rap metal monster combining sung and shouted vocals to great effect, the contrast enriching the texture of the song. The chorus melody is strong, set against heavy instrumentation and the shouted vocals.
The final song – “Once Weary Eyes (Fickle6 Club Remix)” – sounds exactly like its title: something you would hear in a club; and if you did, you’d be glad you came. The arrangements are cleverly done, each song having a structure that divides between sections that emphasise vocals, instrumentation and melody.
With recent Senser and (Hed) P.E. support slots, Collisions have been taking their music to the masses, and live is where this will work particularly well. Collisions have produced a great set of songs on this release; this much energy doesn’t come along every day, and for that reason alone it’s definitely worth a listen.