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- vimmerbytidning.com (Sweden)
Power pop of high class.The Contrast and song writer David Reid have many times been compared with ayoung Elvis Costello and that is easy to understand when you listen to themusic they play on the record "Wireless Days".A young and energetic Costello combined with the sound from The Byrdsguitars is a good description of how the band sounds.The new record offers the listener a lot of wonderfull pop songs and thereis just a small 'drop' in the last apart of the songs which gives the albumnot a higher grading.Reid has the skill to create songs with winning refrains. "Can't stand thelight", "What you want", "Charlie Grey" and "Ansaphone" will absolutely beradio hits.Suddenly have Teenage Fanclub got a worthy heir.

- Baby Sue
This British quartet hails from Peterborough, Cambridgeshire. The band plays urgent guitar-based rock music not unlike early Bob Mould. The band's melodic pop tunes feature minimal overdubs and a straightforward approach that is refreshing and genuine. While the listeners' immediate reaction might be that this is just another underground guitar band, during the course of a few more spins the band's subtle, unique traits begin to dissolve their way through the eardrums. The intent here is not to clobber the listener over the head with volume and noise...but instead to present quality tunes using as little as possible. Plenty of fresh, upbeat tunes here. Our initial favorites are "Perfect Disguise," "She's Been Here Before," "Falldown," and "Friend for a Day."

- Launch.Yahoo.com
Beginning with the uptempo guitar-rocker "Perfect Disguise," it's clear that this U.K. trio (which has since become a quartet) has done its homework studying '80s U.S. indie rock, in particular, R.E.M. Singer-songwriter David Reid's fleet, melodic guitarwork is as much a centerpiece of the sound as is his Stipeish-sounding--albeit, less whiney--vocals.The songs are mostly about he-she issues but, if you tire of the themes, it's quite easy--and rewarding--to hone in on Reid's seemingly endless well of melodic and rhythmic ideas. The title track/single is near-perfect piece of harmony-filled radio pop, "Falldown" achieves a Gang Of Four-like edge, and the poppy "Turn Off The Sun" features the chiming guitar sound of the Byrds. Of the 14 tunes, "She's Been Here Before" is one of the few clunkers.A bit too ambitious, it aims to tap the Elvis Costello school of punchy pop with chord changes on nearly every beat. However, Reid's voice isn't up to the task and only the chorus really connects. But those few missteps are simply due to the band's inability to edit the tracks included on the disc (hint: 14 tracks isn't necessary).

- Blissaquamarine (UK)
Second album from The Contrast, who now feature amongst them Rich Mackman,who followers of the late 90s zine scene may remember as being from The Vow(or just Vow as they were later called). Their music falls somewhere betweennon-twee janglepop and non-punky powerpop. There's also Late Train which isquite a departure from their usual style, with its additional surf and rockn' roll influences. This noisier sound is interspersed with quieter sectionsthat are best described as melancholic indiepop. Whilst the individualstyles have been done before, it's pretty original to include them all inthe same song. Elvis Fix is also rather different to the other songs - amixture of laid-back 70s rock and something rather more dark, and featuringthe same sort of keyboard sound Delta have used in their later recordings.This band's first album was great, but you know, I think this is evengreater. Really catchy music with oomph - I've been listening to this a lotlately.

- NotLame
Excellent 2005 releases from The Contrast who sound like long-lost cousins of Pat DiNizio and The Smithereens throughout this fine, fine record! ittle Steven continues to get bahind this band on this, their third release you`ll find armies ischiming guitars, overflowing energy, crafty guitar interplay(think a mod-ish Television) and infectious grooves, all tinted with a rose colored neo-garage rock glow. Like the previous albums there`s some jangling guitar, bits of psych-pop and solid vocal/melody balance in the vein of Elvis Costello and some REM, perhaps. This is the album, their 4th, where the band really settle down into a classic style of jangled, but not overly polite rock, pop `n roll. Listen to the sounds below and know that the 14 songs here pass refreshingly and allow for fulfilling multiple listens. Extremely Highly Recommended!

- Something From Your Inside Fanzine (UK)
" .... The Contrast play a quite stunning little number called Publicity Stunts full of passionate guitars - Like it!"

- Bond Grrl Fanzine (UK)
Did they really come from Peterborough? Fab songs that burst with energy and attitude proving guitar songs can do so much more than Travis let them. If you like glam rock, punk, Lou Reed and excellent songs then you'll like the Contrast, if not then **** off and buy the Invisible band....9/10

- Northsound One Online Radio Singles Club
The Contrast come from Peterborough but on listening to them, you'd be forgiven for thinking they're lying. Perfect Disguise is instantly likeable with its big riffs, crisp production and gruff vocals. The hooks grab you every time and if they keep writing strong songs like this then they've definitely got a long-term future. The debut album Mystery #1 is worth checking out and this single features two non-album songs, the best of which is the 60's influenced ditty, Late Train. A definite winner.

- Aquamarine fanzine
Brilliant, melodic, memorable songs which blend a 60's pop sensibility with more recent noisepop/powerpop elements.

- Evening Telegraph/Vibrations Fanzine
The Contrast take us on a cab ride through the darkened streets of mid-seventies New York with Lou Reed at the wheel and Elvis Costello tied up in the trunk, Cool.

- A Cheery Wave From Stranded Youngsters Fanzine
Mystery#1 (album) "A debut album from Peterborough based four piece The Contrast, on US label Rainbow Quartz and produced by the seemingly omnipresent Andy Hawkins... On first investigation, it comes across like a good mid-pace indie album, beautifully produced and crafted with consistent, solid songwriting and soulful vocals that give it a sort of earthy quality. But there's more lurking under the surface... David Reid, the singer/songwriter, seems to be drawing on inspiration from every decade of the second half of the 20th century, and so comes up with something timeless that still sounds very contemporary. There's nothing over the top or flamboyant about the delivery, it's simply good songs played well, safe in the knowledge that the simplest ideas are often the best. And the album has its fair share of great moments... The lead guitar on the title track, and the chorus of "Independence" stand out.

- ESP magazine / Lite FM (England)"...tunes with big melodies and messy guitars..."

- Cream Of The Crop Fanzine (Wales)"Fronted by guitarist David Reid, comes The Contrast, this is a band that should be somewhere, they mix up an impressive sound ... The mix of songs is so uplifting; it's like pump up and up, then a sheer drop to cool vocals... "

- Record Collector Magazine (UK)
"Sway-a-long guitar pop with the requisite honey-drenched vocals and swooning chorus... I can see Alan McGee coming over that hill... "

- Vibrations From The Edge Of Sanity Fanzine
"The overall sound of The Contrast is New Wave a very mature alternative rock. Comparisons might be drawn to Lou Reed, Radiohead and even Elvis Costello & the Attractions. David's voice in particular is very much like Costello's on 'She's Been Here Before' ...If there were any justice in the World everyone would be battering down David's door to get their hands on these addictive songs."

- The Original Sin Fanzine (Belgium)
"...Most reviewers catagorise them under the 'new wave' movement from the early 80's and Elvis Costello in his Stiff period is often made comparison (...can't deny this!). The point is that the more you'll hear 'Mad Professor' the more you'll get addicted and even if I know I'm exagerating maybe by saying that this song would fit perfectly on Iggy Pop's 'The Idiot' album it still makes sense to say this is a great tune..."

The Byrds were the quintessential folk-rock group, adding shimmering guitars and other amplified aspects to take care of the latter part of the equation. Many current guitar pop bands follow in The Byrds' 12-string fretsteps, yet often remove the folk essence. Thanks primarily to frontman David Reid, The Contrast bring some of the folk back in, though not by composing songs reminiscent of Pete Seeger and Bob Dylan. Instead, Reid's own compositions often have certain melodic turns that sound to me like some of folk-rock stuff I dug in the '80s. Two performers who come to mind when I hear The Contrast are T-Bone Burnett, who many of you might know more as a producer, and Chris Hickey, who almost none of you will know (he was also in the band Show of Hands with Randell Kirsch, if that helps).

Regardless of whether you know the '80s Burnett or Hickey catalogues, trust me when I tell you that evoking them is a very, very good thing. Part of the reason that those two names come to mind is that Reid shares a vocal tone with both of them. It's a voice with a limited range, but it's very inviting and sincere.

And it's a voice with enough power to keep up with his colleagues when they pick up a head of steam. The band plays with a stalwart intensity at times, giving songs tension and drama. This comes out in spades on "Cover", where the band creates a slow moving desert rock cyclone that contains slashing guitars, forceful dynamics and a rhythm section that is always moving forward. The searing music supports white hot invective. If anything, this could be a lost Eleventh Dream Day track.

While pithier and poppier on "Mask", the lyrics provide a cutting edge: "I thought you were tall/you were standing on the wall/with a mask stuck over your head/I thought you were clever/but you sold me down the river/and now everything is turning bright red." The monotone bouncy verses go right up a melodic ramp in the chorus, while the guitar interplay between Reid (playing the leads) and Spencer Hart (on rhythm axe) is effortlessly compelling.

The band succeeds at the slow burn on "Charlie Grey". Conjuring up an atmosphere that smacks of the Evil Twin of Buffalo Springfield as portrayed by the Grip Weeds, the band does an excellent job in the verses of using sonic space, so each ringing guitar note makes things all the more ominous. Lyrically, the song seems to be some sort of Brit Poe thing -- is Charlie Grey some model of perfection that the singer is trying to distance himself from? Or is he, as I suspect, the singer, who has done something (and somebody) wrong, so he "drank a whole bottle of scotch last Friday/now I'll never be O.K." Musically, the band again shows that it has perfected building tension and releasing it with melodic aplomb.

Indeed, melodic aplomb is strewn throughout these songs. The mid-tempo "Fortune", a constructive criticism character study, doesn't have one main hook, yet has four or five incredibly memorable aspects, from Reid's lead guitar part to the winding melody of the chorus that burns in the brain. The Contrast can even do chirpy, as "What You Want" is sounds like a Richard X. Heyman ditty with added coats of melancholy and bitterness (sample -- "this house is haunted/just like you"). The Contrast has been around a while, and hopefully their affiliation with Rainbow Quartz will expand their audience. They certainly have all the requisite '60s reference points needed for the label. But what makes them all the more special is they have a very distinct personality supported by intriguing lyrics.