‘Fire Inside’ shows the Keys' progression as an act, they’re still informed by their classic 60s pop influences but now each piece is more melodic and subtle; swirled with psychedelic patterns. Informed by cult legends like 13th floor Elevators, The Velvet Underground and the Jesus and Mary Chain, whilst imbuing each homespun recording with a personal warmth and experimentalism reminiscent of modern artistsz like Panda Bear, Animal Collective and Spiritualized bandleader Jason Pearce.

The fizzing guitar riffs, cart wheeling rhythms, and effortless melodies of title track and imminent single ‘Fire Inside’ is redolent of The Yardbirds and The Zombies as it twists into an instant Keys classic. While ‘People Meet People’ is an addictive, hollering foot stomping garage-rock groove that shows the sheer diversity of this new long player. The acid tinged desert fuzz of ‘Eyes of the World’ brings to mind the classic work of Can. While the sumptuous California sun soaked melodies and twanging guitars of ‘Valley Sun’ and ‘Chemistry’ shows that the Keys are right up there with the Super Furry Animals and Gorkys Zygotic Mynci as purveyors of high quality Welsh guitar pop. The Keys’ new album ‘Fire Inside’ was self produced and recorded with the help of Pixy Jones (El Goodo) and mixed by Charlie Francis (R.E.M, The High Llamas) at their own studio shared with local comrades El Goodo.

Reacting to a music industry in flux, earlier this year The Keys set out on a mission to release four EPs over the course of a year. The Christmas E.P is the second one in this series, and was recorded in their own studio on sixteen track tape; it’s this that gives it an authenticity and personality that many modern over produced releases lack. The Keys’ new work shows their progression as an act, they’re still informed by their classic 60s pop influences but now each piece is more melodic and subtle; swirled with psychedelic patterns: informed by cult legends like 13th floor Elevators, The Velvet Underground and the Jesus and Mary Chain, whilst imbuing each homespun recording with a personal warmth and experimentalism that is informed by modern artists like Panda Bear of the Animal Collective and Spiritualized band leader Jason Pearce.

A million miles away from your cheesy over played Christmas hits that you’ll be sick of by the end of December, lead track ‘Queuing up for Xmas Time’ is a delightfully unassuming slice of Beatles-esque pop. A foot tapping, sleigh bell shaking, jaunt through the festive holiday period, replete with singer Matthew Evans’ sighing, wistful chorus (it’s even got a whistling solo) that looks into the future with hope in his heart ‘all the shops will be shut but the world will be fine…’ Second track ‘Somewhere’ meanwhile trots imperiously along vacated deserts on effortlessly cool Rickenbacker riffs, and a delicious 60s flecked bittersweet, melody. ‘There’s a place’ is a gorgeously dewy eyed strum, reminiscent of the down-tempo works of the Band, watch out for the wonderfully unexpected, woozy harmonica line half way through. ‘The Reveal’ meanwhile is a delicately picked harp instrumental interlude that breaks up the EP expertly, while final track ‘Strange Garden’ gives an energetic full stop to the release. Fizzing kaleidoscopic guitar figures interplay with stomping drums while dabbing Hammond organs weave their way through the rhythm, while the lilting harmonies are redolent of the work of the Byrds.

The songs that make up this unique, vital sounding BBC Live Sessions EP exhibit Houdini Dax’s irresistible, feel good, melodies, and head bobbing, rhythm section that’s reminiscent of your favourite early Beatles classics.

This special live EP opens with ‘Robin You Lie” - insistent toe tapping vocals, twangy guitars, and playful rhythms redolent of primetime era Moptops. And that’s not all, when the frenetic guitar licks, kick at the end it’s like being thrust into the middle of a raucous, foot stomping party. Second track “Mr Pascoe” shows off the Dax’s subtler side: its hypnotic vocal chant is deliciously complimented by hammond organs: and twitchy guitar lines that recall 70s garage rock. Meanwhile “Fizzy Moon” squelchy fuzz riffs, and addictive, ghostly vocals echoes with an eerie psychedelic groove, redolent the most recent Arctic Monkeys record, and the Krautrock of Can. Bonus track “Struggling In The Sand” is a joyous, bittersweet, Kinks-esque strum down the shore, that playfully kicks sand up in the verses, only pausing for breath in the middle eight for a moment of quiet reflection before the effervescent, surrealist lyrics kick back in, then finally collapse face down on the beach.

"The Le Mans EP showcased their angular, faux-psychedelia sounding more accomplished than ever, and deviating interestingly from the Murry template. Alongside the quirky, jerky LSD tinged canal walks was a pair of rock testicles so sweaty you could smell them from Neath. What’s most impressive about The Keys is that their growth from summery intelligent pop-rock into a more scuzzy sixties vibe sounds entirely effortless. They now have the aura of a far-out, full-on rock band with You Should Have Grabbed Her When You Had The Chance coming over like Bobby Gillespie after he’s just lost top trumps." (Words: Simon Read, The Miniature Music Press)

The Front EP reveals a band resolute on mashing up sounds and influences in search of the ultimate groove. From the very first track "Sunshine Lazy" they lay out their wares – solid bass-lines, crunchy-psychedelic guitars, huge drum beats, and dynamic vocals rammed up against Booker-T style organs and space age sound effects.

It's such an exhilarating opening that it's hard to imagine how they can keep the pressure up, but the second track “Bow Down Selector” quickly lays any fears to rest, the anthemic harmonies and catchy hook pay tribute to the floor-filling DJ at their favourite Cardiff haunt - the City Arms. “Times Not Waiting” manages to coherently fuse vaudeville piano, with big beats, snappy guitars and unyielding bass; and is seamlessly followed by the title track – “The Front”, which is a lyrical attack served alongside such a sonic intensity it must be seen live to be fully appreciated.

The final track sustains the ‘dancability’ but reveals a social conscience lurking behind all that revelry, “the New Crusaders” - a ‘love’ song for George Bush – brings the EP to a fitting but premature close leaving the listener hungering for more.