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In the summer of 2008, two young men, rendered tenacious by a general disdain for the deleterious vogue, resolved to impose an apotropaic breath of fresh air on the tired zeitgeist.
The object was clear: To compose the crumbliest, flakiest pop songs.
The conviction was pure, the advances had been entertained – the bar had been set. However, one substantial obstacle remained: A rhythm section pregnant with ambition, could harness all the will in the world, but it would still lack one vital component - a melody maker. It was after two frustrating weeks, fraught with calculation and paroxysm, that the duo stumbled upon local diamond in the rough, Niall “Velvet Note” McGeough.
Heartened by the atonement of Niall’s individualistic style and, heart throb, Lewis Clinton’s lurid vocals, drummer and all-round nice guy, Patrick Staunton, furnished the three-piece with their first collection of beats, and together with this, let providence take its course.
The synergetic effect of the three-piece culminated in a hitherto unprecedented wall of sound. The way had been paved, over time the band had forged euphonic harmony.
Harvesting a myriad of influences, including but not limited to the detail of Minus the Bear, the vehemence of The Flaws, and the sheer poignancy of Radiohead, the band achieved a starting point, and thus commenced to explore.
Before the first trees had shed the following autumn, Lets had unleashed into the pubic domain their first endeavour at perfection: the seismically charged ‘She Is Lost’: A combination of incandescent guitar riffs intricately soldered to an angst-ridden tale of love and loss.
Citing an “all-give-and-no-take” relationship, McGeough and Staunton have resolved to disband (more than once) only to reunite once more, and reminiscent of the phoenix, rise from the flames to form an integrally intransmutable guise.
Fresh from a series of well received gigs, Lew, Niall and Patrick appear ready and willing to reignite the world’s love affair with lost art of power-pop.

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