First impressions are important. So, having a picture of bog roll/loo roll/ toilet tissue (delete depending on degree of poshness) as the cover of your demo CD is hardly a way to endorse yourself to the world. Add to this the fact that the pictures on the inlay show that The Movement look more like thirty-something plumbers than hollow cheekboned rock gods and omens aren’t good for these tracks being anything more than jokey pub rock dreamed up down the boozer one night; “Hey lads, let’s form a band. I’ve got a picture of bog roll on my phone, let’s use that as a cover!”
But surely it’s all about the music, man? Well, when a three-track demo is of such exceptional quality as this collection, then it should be. Opener “Set Me Free” is this poignant, minor key masterpiece, full of repetitive but hypnotic guitar and bass riffs and the hookiest of keyboard hooks. The straightforward but effective chorus, “Would you love me, set me free?” is somehow rather heartbreaking too. The title track shows a bit more of the comic genius that the band illustrated through their cover picture with its fast-paced almost carnival styly verse instrumentation; the chorus, though, is all rawk ranting, simply and dim but brilliant, meaning it all becomes a motley and messed-up dance-floor beauty. Final song “Crash” opens like a mid-eighties Queen track but overcomes this magnificently to end up rather sweet and nasty, all at the same time. Add to these killer tunes the vocals of Martin Boylan, and it becomes even more special. He has this type of alluring, deeply emotive, unspoilt voice, in a Roddy Woomble celtic-tinged (Irish this time, not Scottish) sort of way. Like nearly everything to do with The Movement, it shouldn’t work, but it really does.
In this fickle and shallow industry, The Movement will probably find it hard to make a huge impact. But the fact that they don’t wear skinny jeans or have poncy fringes shouldn’t stop many more people hearing their majestic and enthralling music. First impressions, like appearances, can be deceptive.