Brighton trio Tigercub let rip with rocking fourth album 'Nets To Catch The Wind'

Angsty yet immediate, powerful dose of alternative rock

share this article

Angsty but confident alt-rock

It is always fascinating recognising influences in a band or artists style, but noting how they have been adapted, morphed into something different and new. For the Brighton based three-piece rock band Tigercub, influences like Nirvana and Queens of The Stone Age are easy and obvious to grasp, but it is also apparent how the trio push through into their own style and making.

For those not in the know, Tigercub consist of Jamie Stephen Hall (vocals and guitar), Jimi Wheelwright (bass) and James Allix (drums). For the last fifteen years they have honed and refined their alternative rock sound, and their albums so far – particularly with 2021’s As Blue As Indigo – have seen them build upon the shifting, quiet-loud dynamics that Cobain and co helped spread across the airwaves.

This isn’t to say they are simply imitators of what came before, but a mere attempt to sum up their essence and foundation of their sound. The reality is that with their latest album, Nets To Catch The Wind, the trio blow straight past many of their more well-known contemporaries and place themselves firmly in their own wheelhouse.

From the off, this is a powerful, mighty album to reckon with. The opening “Silver Smile” sets the pace nicely with booming drums and a ripping, soaring chorus. Lead single “Fall In Fall Out” follows with an upbeat riff and Wheelwright’s bass lathered in fuzzed distortion.

Across the following tracks, the trio demonstrate an immaculate display of powerful, angsty, yet mature alt-rock. Hall’s lyrics and vocals throughout evoke a sense of quiet despair, yearning for a reprieve of what emotional or mental turmoil may be ailing him. A prime example of this is the standout "Stuck In The Melancholy". As the name may suggest, it is gloomy, introspective, but balances looking inward with letting loose with layers and layers of fuzzed guitars.

Where previous album, 2023’s The Perfume Of Decay, was a moody and brooding affair, album number four is a mirrored response; angsty still, yes, but direct, immediate and brimming with energy and intent. With Nets To Catch The Wind, Tigercub feel primed to stake their well-earned claim on a larger stage.

Add comment

The content of this field is kept private and will not be shown publicly.
With Nets To Catch The Wind, Tigercub feel primed to stake their well-earned claim on a larger stage

rating

4

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing! 

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more new music

Belfast hip-hoppers explicitly refuse to tone things down
Soul treasures from 1969 are made easily available for the first time
This debut album is a genre-hopping feast for the ears
The singer has gone from tiny clubs to arenas in just three years
At 85, Ringo has found a voice a world away from his cartoon persona
On a late career roll, the German rock star talks techno, time machines and Satanic anarchy
Grot-permeated hard rock with a debt to the early Seventies
Energetic and carefree, but ultimately it flatters to deceive
Brilliant trio seamlessly combine composition and improvisation