The Statue Thieves’ Statues of Realisation E.P. available in digital and CD format


The Statue Thieves’ Statues of Realisation E.P. available in digital and CD format

The Statue Thieves have released their debut E.P. on CD and on digital format at:

Statues of Realisation EP calls a menagerie of genres into alliance for a change to the British rock experience, rallying roots Rock and Roll, Soul, Folk, Alternative Rock, and 1960s inspired Psychedelia.

Since January 2012, The Statue Thieves have been industrious in their creativity and ambitious in their intentions, running the London gig circuit at high speed. Originally a duet of the once solo singer songwriter Craig Ingham and bass guitarist Alex Montague, the admissions of percussionist Ryhan Lovell and lead guitarist Iván Muela erupted the dusty Soul two-piece music with an expanded, pulsating, sound. Song writing progressed with tempo, and songs such as Broken Beat, The Score and a re-worked Pocket Money trail blazed what can now be defined at The Statue Thieves’ sound.

The EP was recorded in mid-2012 at Britannia Row Studios owned by Nick Mason, the drummer of Pink Floyd who recorded the albums The Wall, Wish You Were Here and Animals on the premises. Further work was made at London School of Sound’s Clapham studios. Produced, mixed and recorded by the innovative and creatively agile Colin Brain, Statues of Realisation EP consists of the following tracks:

Pocket Money

The EP’s opener, Pocket Money, is a commentary on the 2011 London riots. For a generation-defining event, a healthy level of understanding is provided from the opening line: “The life we lead goes astray”. The chorus brings into question the ‘land-of-the-free’ ethos of the western world, a sentiment out of place during explosions and carnage that marked that summer. However, Pocket Money also introduces to the listener the philosophic theme of existance and everyday life- existentialism- that brands itself all over Statues of Realisation EP: “All the people got it made, here’s your spoon, your bed made”. Here Ingham’s lyricism, in the context of disorder and chaos, depicts the fragility of stability. Pocket Money manages to project anger without aggression, socio-politics without preaching; a skill hard to acquire, easy to enjoy.

Movie Queen

A smooth-grooved taste of mellow funk drawing influence from the instrumentation found in many forms of Hip Hop, Movie Queen is divided into three parts separated by door knockings on Ryhan Lovell’s cajon. The song contrasts the presence of a superstar with everyday circumstance: “On the corner is a movie queen you have seen before”.

Pathos surrounds the movie queen; she appears to be saved when her hero comes to the rescue knocking on her door, and the song runs to her defense with the line “To say that she’s a sinner is a sin itself”. All is not so easy for the unnamed protagonist: “If you’ve watched all her films, then you may need help”.

The contrast of extreme (fame) and the ordinary (her street corner setting) follows smoothly from Pocket Money’s juxtaposition of riots and normality. The song actually does not exclude the interpretation that the movie queen may in fact be a common, or even down-and-out, individual with extreme dreams and bad luck.

Broken Beat

A clap-of-the-hands wake up from the dreamy Movie Queen, Broken Beat is a direct critique aimed at Conservative Prime Minister David Cameron, the “leader in your seat”. With a shuffle like rhythm section reflecting The Statue Thieves’ influence from mid-twentieth century Rock and Roll, Broken Beat calls “people take a stand for the good of man”. Cameron is described as “another broken beat” ie. another politician without dreams, hope, originality, love nor care.

The urban affects of recession-era policy, much like in Pocket Money, upon one’s everyday surroundings are addressed in the song’s middle eighth, with the line “poverty and greed, as another city bleeds”.

As the third song in, Broken Beat certifies Statues of Realisation EP as a documentation of what it means to live in Britain in the 2010’s, spanning from “on the corner” to Parliament.

The Score

The sociological turns personal. The music to The Score, due to the intricate production techniques of Colin Brain, has the train-like sound in blues and soul. Guitars scream like engines’ steam, bass and percussion throb like wheels on the tracks.

Lyrically, The Score is about the dependency of something for basic comfort. Interestingly, the number manages to simultaneously be about two things within the same lyric. The chorus notes that “lovers come and go” . Then follows “and everybody knows the score”  thus referring to points in relationships, friendships, or love affairs when both parties know the game is over, the future futile, the unspoken fatalism when both agree to stay in touch, to remain friends. Yet the comfort in, and need for, relationships is shown with lines such as “’cause you need a friend, some one to show you how”.

The other theme of The Score is drugs. The title itself can mean the collection of drugs. When “you need a friend” it is in fact the notion of having a substance to spent time with, confide in, escape the life and the world with. Although “lovers come and go” there is always ‘the score’: the narcotic. The line “everything has changed, but it’s you that still remain, that’s all” addresses the isolation and unchanging nature of the drug addict, even if their surroundings and life are falling apart around them.

Turn Around

The penultimate song perfect for a Friday/end of the working week evening. Turn Around is again the inclusion of existentialism, in an upbeat and joyous manner. The plot takes place in one day. The first-person dialogue begins “early morning, sunshine breaks my dreams. Off to work, so I grab my keys” and then cuts to that end of shift buzz one feels: “as the day runs, I am freedom bound. Heading home before I hit the town”.

In between these two ends of the day, Turn Around is a vignette of two strangers’ bashful attractions in a square at 6 o’clock: “I see you smile when I turn around”. The number illuminates Ingham’s ability to turn the everyday- in this case a cheeky smile at a stranger- into a story. One can only imagine every detail of the character’s day when listening to Turn Around.


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