The Flash Cars: The Invisible Circus.

The Flash Cars are a band of three Lincoln lads born in the wrong city at the wrong time. It’s surprising and refreshing to hear a little band from a rural town produce such a confident 1970s American-tinged sound.

Their latest EP, The Invisible Circus, blends together fuzzy, distorted lead guitar, gritty vocals and potentially funk-influenced bass to create a cacophony of distinctly American-sounding rock and roll.

Opening track Hope And Glory is a punchy three-minute rock-pop number driven by a somewhat George Harrison-inspired lead guitar riff, with a repeated refrain of the track’s title. Lover’s legs and misplaced bottles of wine are the focus of the song, giving it a somewhat adolescent feel, which isn’t necessarily a bad thing. It’s not the best The Flash Cars have to offer, but it’s a solid introduction to their sound and still better than the majority of bands that filter through from across the Atlantic.

Second track Careless is another Americana-tinged track. Things have been slowed down somewhat, narrowly treading into lighter-in-the-air “ballad” territory. Nevertheless, you wouldn’t be amiss in thinking this was a Third Eye Blind or Smashing Pumpkins album track.

Come On picks things back up where Hope And Glory left off, with an abrasive distortion screeching out for attention. Come On is a well-structured rock song, somewhat reminiscent of the likes of Black Rebel Motorcycle Club or the Von Bondies. Remember them? They were a four-piece rock band from Detroit, who came across as a part of the rock and roll revolution at the start of the decade. Look them up.

All The Rage follows seamlessly, serving up much of the same. The inclusion of a delicate, continuous refrain, albeit a touch sloppy, gives a Demolition-era Ryan Adams feel to the song. It’s not the best from The Flash Cars, but it’s perhaps the strongest showing of lead singer Chris Barnard’s vocal range.

Finally, the EP is brought to a close with Why Won’t You Leave It Alone? The vocal effects placed on Barnard’s voice seem unnecessary, but create an echoed sentiment throughout. It’s a strong close to the EP and another subtle nod to the obvious Ryan Adams influences.

For more on The Flash Cars, visit www.myspace.com/theflashcars.