The opening salvo, "Thick As Thieves," wastes no time establishing intent. Built upon staccato guitar work and thunderous percussion, it announces the album's central philosophy: rock and roll needn't be complicated to be effective. What follows is a ten-track masterclass in how to balance reverence for the classics with contemporary vitality. The dual-vocalist approach of PV Staff and Olav Iversen provides a textural richness often absent from modern rock, their voices interweaving with the sort of chemistry that recalls prime Thin Lizzy—a comparison one reviewer noted isn't lightly offered.
"Close To Be" demonstrates the band's ability to temper aggression with genuine emotional heft. The riff progresses with controlled menace while the vocals seek connection rather than merely volume. It's a reminder that power and poise need not be mutually exclusive concepts. By contrast, "Lover Lover" pivots toward a more measured approach, proving that Electric High possess the songwriting chops to vary their attack without losing their essential character.
The album's centrepiece, "Ain't Got Nothing But Time," rolls forward with the confidence of a band entirely comfortable in their own skin. As vocalist PV Staff notes, it's intended as a reminder to breathe and ease the stress—a sentiment that permeates the track's unhurried groove. This isn't mindless party rock; it's purposeful, considered material that happens to make you want to move.
Where *Free to Go* truly distinguishes itself is in its refusal to pad the runtime with filler. While most bands might offer a handful of strong tracks surrounded by adequate material, this record plays like a greatest hits collection. "Free to Go" channels classic hard rock swagger with remarkable authenticity. "Blow A Fuse" pushes into heavier territory, flirting with early metal aesthetics before such music became obsessed with technical proficiency over feel. "Feed Me A Groove" closes proceedings with hypnotic momentum, leaving the listener energised rather than exhausted.
The production merits particular attention. Rather than polishing away every imperfection, the mix preserves the vitality of the performances. You can hear the room, sense the energy exchanged between musicians. It's the sound of a band playing together rather than a collection of individually tracked parts assembled in post-production. This approach suits material conceived and executed at such breakneck pace—the album's spontaneity would have been suffocated by studio perfectionism.
Comparisons to the usual suspects—Aerosmith, AC/DC, Black Sabbath—are inevitable and largely apt, but Electric High have digested these influences thoroughly enough to forge their own identity. The occasional nod to contemporary acts like Royal Blood and Arctic Monkeys keeps things from feeling like mere nostalgia, though the band's heart clearly beats to a classic rhythm. The 70s glam touches add welcome colour without tipping into pastiche, while the punk attitude manifests as energy rather than aesthetic posturing.
*Free to Go* succeeds because Electric High understand a fundamental truth about rock music: technique matters far less than conviction. This is music played by people who believe in what they're doing, who trust their instincts over market research. The result feels both timeless and immediate—a record that could have emerged from any decade between 1975 and now, yet sounds entirely of this moment.
For a band barely a year removed from their debut, this represents remarkable confidence. Electric High have delivered a rock album that actually rocks, something increasingly rare in music's current landscape. That alone deserves celebration.