We rise with the initial detailed account known as 'Hate Crimes Of The New Millennium', a very tough, resistant number that grinds itself out with taut effect and continual inducement. Tepid tones begin and are slightly simmered with a sub-skank rhythm and hot roasted vocalisation. The drums pitter patter in good time as well as offering something more resonant and tribal beneath. Momentary breathers are taken as strings peel away in a single strum salute, bassism is briefly left to add its own angular touch and we persevere with the band through what is a fuckin' good opening account of slightly seared sonica that refuses to lash out unnecessarily. The production values suit the style, the blend of each player is choice and the ascension to greater levels of ill temperament are pleasing - yeah!
'Fight The Enemy' continues the flow without pointless urgency, the band have more confidence than that! Again the textures are carefully moulded into one end acoustic pseudo-abstraction with all aspects once more kept on a low flame but still capable of burning themselves into the attentive areas. Desperation is a new emotion thrown in, a call to arms it seems, this one has a greater degree of intent and is a sweet manoeuvre from the opening track. Both tracks sit cosily together, are obviously borne from the same noisy womb and have me intrigued as to how appropriately this lot would fit in on an eclectic gig to showcase varied rackets.
The third instalment is called 'I Lose My Soul', perhaps the most disjointed track and in parts stutters along and thus loses the embrace of the listener as the presumed hand in hand waltz is broken up with a stop/start motion. Cool club keyed pulses are joined by tepid guitars and cymbal insistences - we progress into a jerky patchwork verse that just isn't sewn together as neatly as could be. Eventually we hit a smoother moment where desperation is nicely played out and the band begin to thrive - emotion is there to be exploited, emboldened, bled dry. This may be not my thing entirely but there is much to acknowledge and build upon with the depth of input most notable. Not crud, not a cracker but a change in my usual fodder that I welcome. 'Your Law' adds more sonic water to the awaiting bowl of noise and we have a fuller sound, a wealthier essence with drums avoiding a clutter by oh so little and the guitars evading an overdose of corrosion by an equal measure. The song is carefully laid out before us and writhes with a black-lined life. A soft touch of sub-new romanticism seems to invade, yet more inklings towards something futuristic, lashings of independent influence - mmm - if I was judging this on the ludicrous criteria out there then I would be destined to pull out a grade of 'dud' but I have no such restrictions - this is worth my time and yours!
The heartbeat of 'God's Own Bloodbath' next and a song that provokes, throbs with ill will and fury before boiling over into a seething chorus that is pulled by the reins before all acoustica runs amok. Perspired, taut wired, well fired - the spit turns, the melodic meat is roasted and we have a song to bite into to. The lack of pace may be a mistake at this point as a rush is much needed but as a stand alone track this one works well. 'Forsaken' follows the set suit and moves up in saturation levels and has a blue light warning radiating from within. Each note is ground to dust, the band are trying darn hard to strain out harsh melodica and the atmospheric threat, underlying emergency and general balance of temperament is again satisfactory. A moment away from the madness cuts the tendons of tone in two - the snap apart - each has its own merits - we move to the final utterance - tension is still raging.
released 26 January 2013
Written and performed by Francis Heath
Album art concept Francis Heath & Mat Horton
Photography Mat Horton
all rights reserved
feeds for ,