“Everybody wants to be famous”, spits LUVV‘s lead singer Matthew Short, like a can of mace, he sprays his vocal attack from the fortress of distortion that cocoons him. By just listening to Nothing it is quite clear that the five-piece, post punk outfit from Cardiff couldn’t give a toss if they were famous or not.
This is music made by a band who are not bound by the shackles of pressured restraint and that is true of all of the music made under the banner of LUVV so far. Along with Chain Of Flowers (Of which guitarist Sam Hunt and drummer Rich Clarke are also members), LUVV are arguably the most exciting and promising band in the South Wales area.
This track has been streamed free of charge by the band on Soundcloud and has a video to accompany it, made by Phillip Jenkins. Both sum up the qualities of LUVV as accurately as any fan could have hoped for.
Nothing is, like the band; an unpolished polymer of industrial angst that levitates above and around. Untamed but always in control, drummer Rich Clarke changes seamlessly through the gears to lead the powerhouse to come. As expected with LUVV, the bleakness clutches at you like an unseen spiders web, yet it is eerily joyous simultaneously, like sunlight strobing through dark forest thickets. This is mainly attributed to Sam Hunt’s soaring and spiralling guitar riffs and flourishes that hurtle upwards and keep rising.
It is the lead singer who is the ultimate object of curiosity and wonder. Matthew Short is originally from Carmarthen in West Wales but his appearance confirms he is of Italian stock and that is where the orthodox ends. Fed strictly on a diet of salami and potato-croquette’s, his black cloaked, slight frame pinballs back and for when playing live. Recently released of the constraints of rhythm guitar (Due to the addition of Iwan Heneghan), Short can concentrate fully on his writing, his lyrics and his performance that is always irresistibly hypnotizing.
The post-punk power is entwined with a Jesus And The Mary Chain like indie, which is executed with genuine passion and commitment. Whether it be Ben Mainwaring’s disciplined, driving bass lines or Shorts scalding vocal intent; LUVV need the limelight. They deserve it. Not for their sake but for ours.
Wales’ Tree Of Wolves are amongst a number of fine bands from the principality who are seemingly on the brink of achieving wider acclaim and perhaps, beyond. This, their first single from the forthcoming EP Sleepwalking, illustrates exactly why they have been championed in recent months by the establishment and the press alike, including Radio 6 Music’s Tom Robinson.
Shapes is produced by Owain Fleetwood Jenkins and Tom Sinnett(Valleyers), and mastered by the Grammy award nominated Noel Summerfield (Aphex Twin, The White Stripes, The Clash). The band and the support team’s eye for detail is instantly apparent as the clarity of sound in Shapes production is crisply concocted.
A solitary guitar opens the track in simple terms, two chords harshly strummed are ever present providing a slightly sinister backdrop to the formulating drums and chiming keys that quickly accompany it. The tempo of Shapes is determined by the sumptuous bass line hidden behind the layered intricacies of the song, easing the listener through it’s gliding melody.
Aled Thomas shares the vocal with Charli Bicknell on this occasion, offering a contrast of style and feeling. The femininity of the latters voice sits comfortably alongside the lead singers and in turn, on the listeners ears. The ultimate result can be compared to Fleetwood Mac’s Dreams particularly in the time signature change to the mellow body of the track.
The five piece from Carmarthen in West Wales certainly have a very accessible sound. There is a mysterious quality that exudes from Shapes reticent grace. The calmness continues courtesy of the delicious keyboard chords and subtle touches, however the chorus lacks the insight that the rest of the song portrays. It attempts to reach an altitude that is beyond the reach of Shapes and possibly would have been better at a bass camp a couple of octaves lower.
Tree Of Wolves can undoubtedly expect some success with their song construction so phlegmatic and serene, which would mean that things are shaping up nicely.
The best kept secret in Nottingham is perhaps the ornate Albert Hall. This was the perfect venue for folk music’s worst kept secret to offer up the release of their fantastic new album Mount the Air.
Amidst the intimate but Victorian splendor of this concert hall, the collective from Northumberland headed by the refreshingly down to earth Unthank sisters, appeared from the rear of the audience to centre stage to modestly but sincerely introduce themselves. The luscious strings and lone trumpet would feature heavily throughout the evening suggested immediately as the opener – Hawthornheralded the first of the new Unthanks arsenal.
The evening was interspersed with monologues and dialogues by TheUnthanks sisters as well as the musical director and multi instrumentalist: Adrian McNally. The laid back atmosphere accepted and absorbed the naïve and apologist humour in raptures of heartfelt esteem.
As Mount the Air, the eponymous title track, soothed and soared its ten minutes of gorgeous, loves lost elegance, the audience swooned and were rewarded with further manner from folk heaven in an unbeatable and equally unfathomable rendition of Anthony Heggarty’sSpiraling. In this track, Becky Unthank staked her claim as one of the most heavenly vocalists of her generation. “She writes her first song and gets play listed on Radio 6 Music,” bemoaned McNally of Becky Unthank’s Flutter. This beautiful song became the latest arrow to pierce the onlooker’s hearts.
The two separate halves of the performance were almost undecipherable other than the presence of previous Unthanks favourites such as the stunning Lastand the sumptuously and expertly tailored Starless. Originally by 70’s prog rockers King Crimson, The Unthanks have undoubtedly improved upon the original, admitting “We decided to emphasize the melody and vocal line”, which can be heard by the most untrained of listeners. The jaunty Lucky Gilchristallowed a welcome rest from luxurious melancholy as the band looked back to Here’s the Tender Comingalbum.
What though would stick in the mind from this most precious of evenings? Perhaps the voice recording from Violinist and vocalist, Niopha Keegan’s father on the instrumental For Dad. Could it have been the discussion about death being “Very Unthanks” swiftly followed by the beautiful Died For Love?
I believe that anybody lucky enough to witness The Unthanks in this ominous form will be delighted with everything other than the moment they realized that they have finished and will not be returning to the stage.
Sometimes when you hear a band on record, you know exactly what you are going to get if you were to see them live. On October 18th in Newport’s Lepub , nothing could have prepared those who were there for what they were about to witness on the small wooden stage soaked in sweat and lights.
A three piece from the state of Indiana tore up the rule book and rocked the city harder than it ever had been before.
Left Lane Cruiser had been booked to headline an all day (and what turned out to be an all night) fundraiser to help rake in enough cash to go towards a new sound proofed ceiling for the iconic venue and stick it to the local council who had given Lepub the ultimatum: Sound proof or close.
It was quite a coup to secure the acclaimed country blues outfit from Fort Wayne on their last night in the U.K before they took their European tour over the channel the following morning.
It was well past 11pm when Left Lane Cruiser came to the stage. Recently rejuvenated as a three piece, the band are well established in the blues country community but the most recent of their studio recordings has opened the doors to audiences from other genres and in other Nations.
European Tour dates last Autumn
2013’s Rock Them Back to Hell was widely praised in the British music press and their latest album All That You Can Eat seems to be securing an ever growing and appreciative fan base this side of the pond.
The band admit to be freshly inspired by bassist Joe Bent’s addition to the original two members. The whiskey fuelled three man frenzy of blues driven rock n roll noise unleashed a barrage of no holds barred, Hillgrass Bluebilly on Newport that night.
Make no mistake, this was momentous and historic. The noise from just three men was unquantifiable, as if it were designed to give the finger to the same council who inadvertently created the nights inception.
Fredrick “Joe” Evans IV, must have hands made of the same steel that laid in his grasp for the entirety of the show. His slide guitar was ragged solidly as he gave no quarter to restraint or inevitable fatigue.
The band’s influences stem from The North Mississippi Hill Country and Blues movement. They are proud of their roots and love what they do. Joe’s pained grimace was a permanent fixture, plucking and slapping his almost vertical bass with unrelenting energy.
Some of those in the crowd had some idea of what to expect but not to this level of intensity. Those who didn’t were in disbelief by the rollicking pace and deafening riffs they continued to kick out. When one finished, a louder, faster tune would follow, this was rock n roll country grown on a farm in hell.
There was time and plenty of it for a rabidly wild rendition of Dire Straits ‘Money for Nothing’ which would have had Mark Knopfler himself foaming at the mouth. The magnum opus was the unveiling of the ‘Skate-tar’, an ingeniously primitive invention fashioned from a skate board and strings which was made by Joe to mimic a lap steel.
Joe’s ‘Skate-ar’
The show rocked and rolled its way up to 1am as the newly converted bounced and balled all the way to its conclusion.
Left Lane Cruiser are set to release a new album this spring and to whet your appetite – Quiffed Owl has dug out an interview recorded with the band just before that Newport show at Lepub. These humble and passionate men from Indiana graced us with their humour and knowledge of their art.
Quiffed Owl:
Tonight is the closing date on the UK leg of your European tour. What have been your impressions of UK audiences and what have been your general experiences of playing live over here?
F. EVANS IV: Last night got rowdy man.
JOE BENT: Yeah, I’ve got battle scars man, a big bruise back here. It was good.
We played at The Railway Hotel in Southend, Essex.
QO: Oh yeah? Did you enjoy the woman down there? They have a certain reputation.
FE IV: Yes, I think Joe prefers um that way.
No, seriously, it’s been great.
JB: Every single show, people have been coming up to us and want to get stuff signed and want to buy everything we have so it’s been really great.
The crowds have all wanted one more and just don’t want us to stop.
QO: Is this the first tour you have done of the UK?
FE IV: We did one in London about six years ago but we had some problems with immigration and work permits so it has taken this long to sort it out.
JB: Yeah, just now we have been assured there will be no more problems, so that’s awesome.
QO: Your next album is due out in March. Have you taken the same approach to recording it as you have for your previous albums?
FE IV: No, this will be entirely different. This will be a group collective collaboration.
All the previous Left Lane records, I was the songwriter but Joe and Pete are new to the band and we have literally written this whole new record on the road as a group.
It’s 33% each.
JB: Totally equal.
QO: Does that give you more satisfaction?
JB: Hell yeah (Laughs)
FE IV: For me it’s great to be able to write with people because our old drummer, he was a great arranger and he’d have beats ready to go but he didn’t play instruments like Joe and Pete do.
Pete plays the guitar as well so, we are all multi-instrumentalists.
We trust each other and know we won’t let each other down man.
JB: There is not much I don’t play.
FE IV: Yep, Joe plays it all.
JB: I have been playing music since I was five years old, I was kind of pushed into it. It’s all I know.
FE IV: He has got his skate board guitar that you’ll see later.
Left Lane Cruiser art work
We will use that on the record too, that’ll really sweet because he basically invented that.
QO: As you know, tonight’s event is organised to help raise funds and pretty much Save Lepub!
What are your views on the importance of having small venues in small towns and cities? How important is it?
JB: Extremely important.
These are the people that are giving bands a chance. If you are some nobody off the street and you have something to share with people but nowhere to go. What are you going to do?
You can go on a street corner or your local joint to play some music.
It is so important because back where we are from, there was a time there when we didn’t have a whole lot of venues at all. There was maybe two, that you could actually go into. Now it has gotten better.
In our hometown of Fort Wayne, there are four solid spots that we just love to play.
FE IV: And they are all about the size of Lepub.
JB: We prefer the smaller clubs because it is more intimate man. I want to be with the people, you know? I want to see you.
FE IV: You can tell that Lepub is the centre of the arts community.
You can feel it in there, it breathes it and sweats it already and we haven’t even hit the stage yet.
QO: Is it similar to the places you have back home?
FE IV: Oh yeah man, you go to The Brass Rail or The Berlin and O’Sullivans, they are our spots and every musician in town is there every night.
JB: Especially The Brass Rail. It is not just where musicians play but they go there to drink. That’s our hang out and everyone knows each other, it’s cool.
FE IV: Joe used to be a bouncer there before he put everyone in a choke hold for no reason.
JB: It wasn’t no reason man (Laughs).
Left Lane Cruiser in Newport, South Wales.
QO: When you started out as a band who were your influences and what were you listening to?
FE IV: Hillgrass.
Hillgrass Bluebilly is a big friend of ours back home, what they would feed off the most would be The North Mississippi country sound. That region of Mississippi is a pocket that is untouched and everyone came through and did the delta blues.
The North Mississippi hill country was preserved until this day so it is a lot funkier kind of blues.
Hound Dog Taylor and Muddy Water are big favourites of ours. You got your slide guitar players.
With Joe and Pete joining the band, they are bringing in the heavier sounds. You will hear that on the record.
Up in Tupelo and Oxford, Mississippi, you have the old cats who hand it down and it is all preserved.
Me and my old drummer used to go every year trying to get signed to Fat Possum (records). We would soak it all up and learn but we never did get signed by Fat Possum but I wouldn’t trade our record company – Alive for anyone man. It’s a great record label.
QO: So, apart from playing Lepub tonight. What are your immediate plans afterwards?
FE IV: Well, we got to board a ferry in the morning at 7am so hopefully we will get some sleep.
We have got three shows in France after boarding from Portsmouth, its six hours.
JB: Shit man, I thought it was four. I get sick on those things.
FE IV: We are really looking forward to it. It’s been a lot of fun so far, with Joe and Pete, I mean it’s even hell of a lot of fun going into a gas station with this guy.
Pete is the godfather of the Fort Wayne music scene. Half our merch table is from his other bands back home.
JB: I have been watching him play for like, twenty years. It sure would be nice to be still playing and having fun together in another twenty years.
Houdini Dax are a paradox in that they seem to have been around for a significant amount of time but are still so young. They are well regarded by the majority, and the majority seem to be quite significant, both in number and in influence. They still remain the same, modestly known band. Which is significant in itself.
The three young men from Cardiff, work together, play together and rest together, mainly because they live together. This all contributes to the extremely likeable and humbly charismatic image of the band.
Saturday the 28th of February saw Houdini Dax return to their favoured and renowned local spot to launch their single Apple Tree. Wales’ famous Clwb Ifor Bach on Womanby Street has seen the band play multiple times, not least in the sell out and critically acclaimed show during Swn Festival- the cities multi-venue festival that took place in October.
Dax’s new single and tour poster
The band have recently signed to the This Is NowAgency roster which includes Public Service Broadcasting, Beans On Toast and Abdomnial & The Obliques, amongst others. So, the timing is surely imminent if not overdue to assert themselves onto a wider consciousness.
The fact is their music deserves far more attention and exposure than it has had thus far. That is not to say that radio and the music press have not championed their refreshing psych pop sound. However apart from Tom Robinson and Jon Robb, the coverage has tended to be from inside the principality. This though, makes no odds to the band as they continue to develop in their enjoyment of creating and playing the music they love.
Jack Butler (guitar & Lead vocal), Owen Richards (Bass & vocals) and David Newington (Drums & vocals) have found themselves caught up in a melee of inventions and excursions in recent months including a tour to India and recording sessions at BBC’s Maida Vale studios courtesy of BBC Horizons amongst a whole host of other corporation concoctions.
In November last year, Houdini Dax visited India and featured in two relatively high profile music festivals. Their presence did not go unnoticed and they were featured in The Bangalore Mirror and were reviewed in The Hindu. The band took the opportunity to release Get Your Goo On via the connections they had made in the sub-continent, not least by Rolling Stone Magazine India who premiered the video of the track for the exclusive Indian market.
Soon after their return, Houdini Dax’s evident rise was confirmed with a rare chance to play at the famous BBC Maida Vale studios in North London. Along with 11 other hand selected artists from the Welsh music industry, Houdini Dax recorded a number of tracks for the BBC who ensured extensive coverage, including airplay on Huw Stephen’s radio show and shows on BBC Wales television.
The tide may be turning for the band but for those who have witnessed their cocktail of raw live power and infectious pop indie it is another mile along the road to the inevitable.
Before their performance at ‘The Welsh Club’, Quiffed Owl caught up with Houdini Dax to discuss their past, what they think the future has in store for them and what interesting developments have taken place recently.
Quiffed Owl: I know you gentleman have been together for a long time now. Exactly when did it all start and how did you meet?
Owen Richards: Jack and I started playing together in a band in High school back when we were about 15 years old. Then Jack started another band with Dave outside of the band I was in with him and then I was asked to come back in, so in some form it has been about 8 or 9 years now.
We started off as a covers band but we properly became Houdini Dax about 4 or 5 years ago.
QO: In those 5 years you have certainly built a good following in the Cardiff area but with recent events, it seems to be spreading a bit further. Do you get that feeling?
OR: Yes, definitely.
Compared to a few years ago when we would play to literally one man and his dog and the dog would walk out half way through, which was a low point, but now when we are going out people have actually heard of us and in November we got the chance to go out to India as well.
We hadn’t played over seas since Ireland when we first started out, so to go there, a far greater distance and to have such an amazing reception was special. We are going to return hopefully next year so it does feel like it has picked up quite a bit especially outside of Wales.
QO: What were your experiences of India? Not only culturally but musically. How was your style of music received over there?
Jack Butler: We were received really well and we were put on at some really good festivals so it was good to get a chance to play to some good crowds.
We went over there and just did what we do and everyone really seemed to enjoy our sets and it went down well. I am not sure how often the general public in India get to see bands like us but at the one festival in particular there was a lot of top acts and we seemed to be received just as well as the more established bands.
QO: Taking that into account, along with your success in India, has anything transpired, in regards to releases because of that tour?
JB: We premiered one of our tracks- Get Your Goo On through Rolling Stone India which was quite cool. That has given us a platform to build on so our aim is to try and get over there every year and get to play a few more festivals all over India and from there grow a fan base.
The crowds are really receptive and took to us really well so we feel there could be a good market there for us.
QO: Tonight is your single launch for Apple Tree. I have heard the recording and it sounds great. Why have you chosen to release that song in particular?
JB: The song was written by a guy in Swansea. We were played the song a while ago by Carl Bevan who we did some recording with a few years ago.
It is the only Dax song that we didn’t write but it is such a strong track that we start off all of our sets with it now. It just seemed a natural choice because it is just such a fantastic song.
QO: Do you feel that you have made it your own?
JB: Possibly, over time and taking it into the studio and having fun with the guitars over it. So yes, I suppose we do.
QO: I just want to concentrate on BBC Horizons initiative that you have been involved in. It has been televised and well covered especially the Maida Vale sessions.
What were your experiences of playing such a prestigious place? and, what have you learnt from your experiences of being one of the bands featured in BBC Horizons?
David Newington: We had an absolutely amazing time playing at Maida Vale because loads of our musical influences have played there. The place is steeped in history and as you walk in you see all these photographs of people that you love hanging on the walls, it was really weird.
It went a lot quicker than I thought it was going to go because the engineers were incredible and really professional so we had a three hour time slot and went in and just rocked the three tracks out and it was done before you knew it.
For me personally, that was one of the best things I have ever done because there is so much weight and history behind it.
QO: It is an iconic place but what would you say you learnt from those sessions and from performing in that sort of, well, Institution?
OR: It was nice to go in there because whenever you do sessions you think, we have got to get this done quickly and in one take and stuff like that but in Maida Vale it felt like there was so much more pressure because you are in Maida Vale for the first time and we haven’t done anything near that big.
When we have done previous sessions, we make sure we hone our live sound as a unit but to be able to do it in there was more reassuring in hindsight. If we can do it there we know that we can deal with certain pressures and we have gained confidence and belief from that.
QO: There was another 11 bands and artists sharing that experience with you. Have you formed relationships with any in particular or any of their approaches to music rubbed off on you at all?
JB: Massively. There is a band called Baby Queens and as soon as I heard them, they were doing this late 90’s R&B stuff and it reminded me of how much I loved that sort of thing so I have started to write a few tunes in that style and playing about with stuff and a few tunes have come out of it which I am really proud of.
DN: Yeah, we are going to wear huge medallions around our necks at the next show.
JB: And trousers down off our arses.
QO: You already do that don’t you?
JB: Yeah and caps slightly to the side.
QO: You have had exposure because of BBC Horizons but what can you see as being the result of it? Is there anything guaranteed by them or is anything in the pipeline?
JB: Going to India was massive and that would not have happened without Horizons, no way.
Also South By South West this year would possibly not have happened without Horizons because that was a result of India.
We have just signed to a company called This Is Now, they are a top booking agency which is fantastic and potentially huge for us.
QO: So you can pinpoint BBC Gorwelion Horizons as being influential in your recent growth in popularity and exposure?
OR: Yeah, it is certainly been a leg up.
At the beginning of it when we all went away to West Wales, there were all these amazing people like James Endacott who was the A&R man for The Strokes and The Libertines and a guy called Richard King at Domino. There was another guywho worked with Bowie and managed The Stranglers. All of them telling stories about experiences and giving advice. It was brilliant and the stuff we gained from that was invaluable.
QO: So do you think that because of these recent developments and experiences you are a better band for it?
DN: I don’t know, its nice to have the validation in some way because people want to believe in something they think maybe other people do.
I think the festivals we played in the summer really helped us. We played a few north Wales festivals including Festival Number 6 and then Haye On Wye.
I don’t necessarily think that it means our music has changed but people in the industry take you more seriously. It does give you more confidence which can’t be a bad thing.
OR: When good things happen to you it does put you in an incredible frame of mind and drives you on for more. Recently we do feel quite inspired as a result.
JB: Writing particularly has really come on.
QO: When I used to see you in the early days, my experience then is different to what it is now. As a live band, I see a band completely involved in their music and I think that stems from you Jack. I think you have improved, certainly as a front man as you have added real heart and aggression to your live performance which enhances your guitar playing and your vocals.
Is that a subconscious thing or have you identified that that has happened?
JB: Definitely. I have tried to improve and that is by taking a committed interest in what you are doing whether it be playing your guitar or writing or singing. You have to be aware that you are putting on a show. You will only get better by reading into things and learning along the way.
If you have someone who is delivering it and really ‘Out there’ and meaning it then it takes you to another level.
And that is exactly what they did minutes after this conversations conclusion, a packed ‘Welsh Club’ enjoyed a startling performance of energy and unity as the long time trio of friends came of age.
Houdini Dax at Clwb Ifor Bach
The new single is well known amongst the following contingent but it sounded extra zesty and full of adrenalin as it was unleashed from the, always spot on speakers in Clwb Ifor Bach. Apple Tree is essentially a sixties mod-pop track but Houdini Dax have a knack of charging things up a notch or two, much like the Arctic Monkeys, their devilish mix of two tempo, Jekyll and Hyde harmonies and thunderous rock n roll make them a potent live force theses days.
At the drop of a hat the three part harmonies give way to an all out freak out as Butler slashes his strings deriving feedback through Get Your Goo On and thenat will, synchronises with Richards constant rhythm. Legs and Dole Office are certain future hits and the crowd seem to know every word.
It is the drummer Newington though, that captures the eye and opens the jaw. He effortlessly and nonchalantly opens up a different direction to each track and is visually lost in his wood and leather and brass. These lads can write songs but boy can they play them.
The glaringly obvious trick with punk/post punk these days, in a time of abundant acts in this field, is to entice the listener to keep listening. So many of these acts do not have the substance or imagination to make an album that will completely immerse you and allow you to discover the wonders within.
In recent years The Cloud Nothings and Protomartyr, perhaps a few more are in the minority that can take punk and make it an intelligent and compelling art form. Viet Cong from Calgary in Canada are seemingly ready to join those gifted enough to do this.
Too often do we have to settle for one dimensional ‘loud’ angst as being the ‘Voice of the downtrodden’. It is possible you can have far more elements to hard Punk rock, and it still be just that.
Viet Cong’s self titled debut album is a rough edged pearl but one that sparkles bright with mystery and skill. At no point does the punk posturing or the music’s credibility wane as a result of the other forces at work here.
The battle commences with Newspaper Spoons as the drums are distant artillery bursts scythed through by chainsaw like guitar sounds. As in many of the tracks on the album, the terror is balanced intriguingly with fresh serene moments that ease the overall intensity.
If hard rock can be avante garde then, this is it. Pointless Experience blends countless styles, rythyms and time signatures into a psyche mesh of sound experience, all over a dependable bass line that’s ready to improvise when given the proverbial nod.
Viet Cong is abrasive and unforgiving, as if skidding, far down a pebble-dashed wall but any unpleasantness is diluted and masked by the adrenalin generated on tap throughout the record.
Effects and drum samples are synthesized thoughtfully to bring in March Of Progress and it continues, resolutely up to just under 3 minutes when the folk like vocal accompanies a harmonious twinkle of acoustic string melody but before you can settle the song takes a direction totally unexpected. A horn introduces a cacophony of bells and guitar reminiscent of an Animal Collective acid dream.
Listening to Viet Cong conjures certain comparisons with their countrymen – Oughts. Like them, they invade your interest which for some may verge on the self indulgent but the visionary outlook on their output should be applauded in its complete originality. Ready to do the unexpected at any given time without losing the essence of the power and beauty duelling against each other.
Bunker Buster is a grenade of blistering shrapnel propelled from the guitars of DanielChristiansen and Scott Munro and pace is the key here, the barbed wire, metallic spikes of noise advance and retreat in a telepathy between the rhythm and guitar parts. Its brutal and hypnotizing rock music.
Continental Shelf is a spine tingling tower of excess and restraint running side by side. Rays of piercing light break through the canopy of dark jungle giving hope amongst the tangled undergrowth of guitar and drums.
Bassist and vocalist Matt Flegel has a versatility of pitch and feeling seldom seen in this area of rock music. He is virile and his tone and style are a chameleon depending on the objective of any one particular track. That couldn’t be more emphatic than between Continental Shelf and the bruising Silhouettes.
Only Death can bring this album to a close. A Swans like din fills the air with unrest and panic as a relentless guitar riff snipes through the song defending us from utter fear, tempo and tone change as quickly as they come and go. This is yet another blockbusting earth moving composition of force that helps to make this record the album of the year so far.
Quiffed Owl 