What happens when the vocal diversity and prowess of Tom Waits is taken into the musical stylings of mid 90’s alternative rock, with a subtle blend of post-Britpop and dark wave embellishments? Seemingly this was the question on the mind of Chase the River as they begin to turn out their latest material. Frontman Stuart Lunn’s vocal diversity and power are a heady mix of delicate and introspective, yet with an ability to deliver striking power and contrast in his delivery. At times, you would swear his voice has been dry rubbed in spice, stored in a vat of bourbon, then dragged for miles up a gravel path. Then in an instant it is quiet, reflective and you can hear a real pain and darkness in the softer moments of Chase the Rivers repertoire. 

Defining the genre of Chase the River is like trying to nail soup to a wall, with such a wide number of comparable (yet totally different acts) seemingly at least partly fitting. The music site dot com perhaps perfectly encapsulates this in their review of 2017’s ‘Recycle your regrets’ when they said “there is a rawness… that proves CTR to be the genuine article; he’s no poser trying to fit into a mould – he’s a supremely talented songwriter.” 

You can hear overlays of many great acts, from Matchbox 20 and Stereophonics, through to the cure and even the killers. This is not to describe Chase the River as a muddled article but rather one with a defined sound, without a desire to sit on what has gone before. Pure M magazine has described Chase the River as “truly outstanding… a pleasure to listen to” and that is the focus. Every song has a distinct story, with deeply meaningful lyrics, but with hard hitting melody and driving rhythm. There are elements for the musical purists, but also for the general listener to take into their heads and their hearts.