Transfer - Future Selves

Think of San Diego, and what springs to mind? The zoo? The world famous comic convention? The amusements at Balboa Park? Thought so. From now on though, it may be a different export that reminds you of the Silicon Beach. Transfer are a four piece set to unleash their mid west melodic rock unto the masses with latest offering, ‘Future Selves’.

It’s taken two years for the band to make the journey across the pond but upon hearing opener ‘Losing Composure’ it seems bizarre that they weren’t on the same boat as Gaslight Anthem and an early Killers. Matthew Molarius (vocals/guitar/bass) roars through a penetrative chorus leaving Andy Ridley to impeccably picks up the pieces with the tightest of precision on the drums. A rush of layered guitars (Jason Cardenas), synths and backing vocals (Shaun Cornell) are accompanied by the San Diego Symphony to produce a wall of sound to make the listener instantly take note.

‘Take Your Medicine’ merges nicely, suggesting Transfer are no one trick pony as a stronger focus on the delicate layering of staccato strings and synths allows Molarius’ lyrical prowess shine through. While the lyrics “Do you believe this is what you need?” ring out, light orchestral tones are fused into the battering guitar riff of stand out track ‘My Suspicions’, further demonstrating the ability to switch form light and dark textures at will.

The band rush through the only suggestion of an album filler ‘Like It Used To Be’, waltz through the barber shop ridden ‘Get Some Rest’ before revealing Molarius’ finest Brandon Flowers impression in ‘Like A Funeral’. A key moment within the melee lies in ‘Wake To Sleep’; a delicate weave of percussive textures. It not only portrays the album’s impeccable production but also sates Transfer’s potential as live spectacle with a raw, bone shattering quality that grabs the listener by the throat and threatens not to let go.

As the remainder of ‘Future Selves’ continues through an undeniably impressive spectrum of textures and timbres certain tracks begin to feel a little over done. A prime example is ‘Possum’, where you’d be forgiven for thinking the begging and end were entirely two different songs. After this slight dip in quality the album appear to peter out until bonus track White Horse rears it’s head. This awe inspiring finale starts where ‘Future Selves’ began throwing all caution to the wind to leave a lasting impression of Transfer. This infectious closure is enough to make you rethink suggesting a middle aged man dressed as Wolverine is the best thing to come out of San Diego.