The Fuegos have produced an exceptional EP with Every Boy Dreams. While it certainly fits well within an alternative rock sound, they bill themselves as classic rock with a modern twist. It could certainly be argued that this set is modern progressive rock. There are enough twists and turns, along with some intriguing keyboard bits, to make it fit reasonably well under that banner. The opening track, in fact, feels a lot like Hawkwind.
Whatever genre one tries to put The Fuegos into, there is a definite British vibe to their music. In addition, everything here feels like it fits together, yet each song is fiercely unique and extremely strong. This is really a near perfect release. One could hope for more songs, but that might actually make it weaker. Everything here is essential and adding more tracks might weaken the entire set. The Fuegos get in and right back out with style and power from start to finish.
“Pulse” starts the EP in style. Atmospheric textures bring some space to the table. It modulates in a progressive rock way for a moment before launching into a hard hitting jam that’s got a lot of Hawkwind built into it. The vocals are more modern, with an alternative rock vibe, but the keyboards and pounding guitar based song structure feel so much like Hawkwind that it’s almost scary. Still, there is certainly a modern edge to this. Of course, that Hawkwind reference is reinforced massively with a space rock based instrumental segment later. It gets non-lyrical vocals lain over the top as that continues.
While “Against the World” pounds in with a raw, almost punk rock vibe, keyboards bring more of that prog influence. The arrangement is very much in an aggressive, modern rock and roll mode with progressive rock put over the top. Alternative rock and punk are both part of the mix, but that is only part of the picture. This is high energy and compelling modern music with a lot retro fixtures built into it.
“Electricity” starts with a soulful, retro rock and roll ballad style. Symphonic elements lend some progressive rock. Then it fires out, after a verse in the mellower motif, to an extremely punk oriented jam. Still, even though there’s a lot of punk on the riff that drives it, the vocals are more alternative rock or alternative pop. Keyboards still lend a little progressive rock to the mix. There’s a tasty roots rock guitar solo built into this beast, too. A slide style guitar solo later even brings some country or blues to the table.
“Hurts” combines a Radiohead kind of sound with a modern alternative rock vibe. There’s a little punk in the mix, but plenty of modern progressive rock, too. This is edgy and yet quite accessible and compelling. In short, it rocks. It’s another great outing from this act.
“Money” feels a lot like the Killers. That said, there are some awesome retro keyboard sounds on the piece. It drops down to a noisy, but cool, feedback laden section that has definite links to 1960s psychedelia. Yet, there is a modern alternative rock and even punk element to the piece.
The disc’s closer, “Seven Tears” opens with an atmospheric build up that’s very much a progressive rock section. As the punky guitar takes over, there are still some hints of psychedelia and progressive rock in the mix. That said, the vocals seem to call to mind some of the sneering sounds that Stiv Bators used to practice at times. That’s only one part of the vocal delivery, though. There’s also a cool Rolling Stones like guitar riff later. Still, the whole thing really has an air of psychedelia and prog in the mix. There’s a jam later in the piece that has a real soaring modern progressive rock vibe. While everything here is extremely strong, this is one of the most dynamic and powerful cuts on the whole set.
This set defies simple classification. The truth is, though, listeners who just sit back and enjoy (or get on their feet to do so – after all this rocks) will be rewarded with a unique experience. It’s a safe bet this EP will be landing on some people’s “best of” lists as the year winds out to a close. It is that good.
Review by G. W. Hill
Rating: 5 (out of 5)
