Liverpool Sound and Vision Rating 9/10

In times of adversity, even the smallest gesture can bring about the greatest change, and a voice given to sincerity, of honour, will give hope to many, and even if the subject matter at hand is one of concern, of clenched fist and tears in the eyes, there is still hope to be found.

It is only natural in the times we live in that we have to delay certain plans, to put back the clock on experience and release, but that doesn’t mean you have to stop living, to hold back on dreams or desires, and art, for the multitude and majority, is the place where their own existence on the planet is made concrete, which gives them a reason to be.

For Elijah James and The Nightmares, time is preciously guarded, and if one event cannot take place, then the only logical and respectful thing to do is to plough on and be sensational in whatever way possible and in the sweet, beautiful tones of the two acoustic versions of songs to come from the new E.P., the sense of underlying fury combining with the sincerity that is always open and secure, makes Who’ll Be Here Tomorrow and Enough Rope a bounty worth unveiling, a prize of intent being lauded before the main event.

And it is intent, the deep growl furnished by the velvet touch that fans of the band are accustomed to, but which still undoubtedly sends a shiver down the spine when you find yourself in a position to listen, to be aurally aroused and captivated by the landscape and the diligence of the performance.

Who’ll Be Here Tomorrow/Enough Rope are songs of enormity, they not only catch the acoustic side of the band which gives off the absolute depth of feeling, but they engender and stimulate the mind to the point of observing grace in action. A double set of songs which enhance an already gigantic reputation.

Ian D. Hall