By DJ Monk
French guitarist Félix Rabin first came to the attention of the ÜR massive when he supported the legendary Wishbone Ash on their 28-date ÜK back in 2018. The positive response to this run was such that he returned for his first headline run in April of 2019 – and then for another six months later, before going on to win the ‘Best Act’ accolade at this past January’s ‘Giants Of Rock’ festival… and all of this before he even had any recorded music to promote, something which he has now corrected with this, the release of his debut six-track EP (which, ironically, he cannot currently promote in the live environment – although he did manage a quick run of dates as support to Samantha Fish just before the keys were turned on the lockdown).
While Rabin very obviously inhabits the blues-rock mien, he is not afraid to elaborate, experiment and integrate other sounds, as exhibited right away with opener ‘Walk’, which actually has a very ‘80s-style electronic pop vibe coursing through it, not least in the effected vocals and it’s curt chorus sections. Rabin obviously loves his effects, as the EP takes its title from the nickname given to him by producer Ross Hogarth, due to the guitarist’s fondness for a Pog pedal – a sound which dominates the six songs, giving them a homogeneity which, in a way, contradicts their mutual diversity.
‘Moving On’ is a more traditional blues-rock affair, built on a very bassy vibe and driven by an energetic big band-style backing sound, while Rabin himself displays a “less is more” attitude to his own guitar contributions: but, don’t worry, he makes up for the lack of histrionics later on… ‘Say (You Won’t Leave Me)’ shows Rabin’s Hendrix obsession, with its stabbing, staccato riff, again supported by beautifully placed saxophone segues, before the plectrum scrapes across the strings and into the first proper solo of the EP so far: and it is clear that this kid (he’s only 24, which makes him a kid in my middle-aged playbook) knows his way around a fretboard and how to combine punchy licks with restrained riffs and mood-making melodies – as exemplified later in the lengthy workout of the ironically titled, jazz-inflected ‘Death’ – and then deliver searing moments of wizardry, such as on the surprisingly rambunctious ‘Angels’. He has studied his craft well and, while still obviously having much to learn, proves himself very much to be a star pupil heading to the top of the (distance learning) class.
- ‘Pogboy’ is out now. You can get your copy HERE.
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