On ‘The Big Silver’ the Wing brothers split songwriting duties for the first time, taking a side and complementing each other’s observational and reflective styles. The lead single ‘Fixing To Burn’ (Released 19th June 2020) is a raw, terse view on gun control from the mind of an outsider “I’ve got a gun, and it’s so much fun, whoever said only the good die young”. Written by primary songwriter James (alongside longtime co-writer Rhys Kempley), The Roves sound intrepid, immediate and scathing. James has the knack of coating witty cynicism over the subject matter: “In their nice leather shoes, singing songs about the blues, drinking moonshine out of a champagne flute”, paints a vivid portrait of the type of the contradictions and hypocrisy seen and heard in society. The Roves heighten the drama using synthesizers - that sound like a breaking news report, to dizzying effect. The band are locked into a driving rhythm and groove, with their signature spiralling guitar motif colouring the track and balancing out the darker topic.

‘Fear’ opens with the lines: “Walking back through Finchley. Saw some blazer boys dancing at a garden party”. From the start, we’re hooked, locked in for another observational songwriting delight. James continues through the first verse accompanied by his guitar’s quick strums before the band joins him for a foot-tapping, r&b styled groove that is vibrant and relentless until the end. In ‘Fear’, we have another lost protagonist, who has issues with gentrification: “They turned my town hall into luxury apartments. Got you all moving in, turn the pubs into wine bars”. As the track nears its end, James sings with anguished vocals: “Burn the names of cinemas from the yellow pages. My achievements span the ages” with tongue in cheek humour of Warren Zevon. Incisive conversational led lyrics are packed into verse after verse. With no chorus in the song structure, ‘Fear’ is an unusually excellent pop song.

Tom steps up to deliver two gorgeous gems of idyllic art pop on the B side (for purists, tracks three and four the digital demographic). ‘The Odd Pupil’ is a majestic, lush composition which ruminates on a lost love: “I’m yearning, concerning, My love in vain for yous still burning”. The song has a haunted mid-60’s feel underpinned by two beautiful, sweeping cellos and matched with a string piano and some vibey bongo drum percussion. In two and a half minutes ‘The Odd Pupil’ perfectly balances Beach Boys esque pop with fuzzy guitar distortion. Tom’s hazy vocals match the reflective lyrics until the end where frustration gets the better of him. He pleads; “Tell me girl” repeatedly in an amalgam of Ray Davis and Kurt Cobain.

‘Thugs For God’ is another blissfully nostalgic track, which opens with the gentle strumming of an autoharp before Tom reflects on a personal relationship. Tom laments pensively: “I haven’t been tactile to touch. But now I guess it don’t take much”. It’s an admirable sentiment which makes this bizarrely titled track the most intimate of the EP. James joins in on the bridge to deliver the EPs first clear sign of harmony, wistfully backing: “And all these things I took for granted, running around my head”, accompanied by magical sound effects which linger throughout the song, hitting angelic, choral like proportions in the chorus. The band change tempo in the chorus to match Tom’s discontent as he takes the reins to deliver a demure shot on love: ‘Cos’ love is a word that’s bandied around. Without any worth run into the ground, no no no”. The additional vocals of Veronica Dajani play out as a daydream, and a memory of love as the melancholic tune drifts off spiralling into the sky.

All sales from the release will be donated 50/50 between the Music Venue Trust: Grassroots Music Venue Crisis Fund #saveourvenues saveourvenues.co.uk and Black Lives Matter blacklivesmatter.com.