A blistering new EP from Midlands indie supergroup GodNo! (featuring members of Grawl!x, Pet Crow, Cable, Merrick’s Tusk).
1. Unholy Water. Previously released, I described this as ‘…tight, spiky anger loping between a main riff of two chords underneath a sinister double vocal describing the psychoactive effects of alcohol. The satisfying total onslaught sounded like it could fit into an electric version of Brecht/Weill’s ahead-of-their times 1930s theatre songs….’
2. Canada Goose. Enigmatically titled two minutes of fuzzy metronomically regular chord changes, driven by a big drum sound and a blasé vocal that carries all before it and firmly sticks in your head.
3. Hulk. Another former teaser for the EP, ‘…begins slightly lighter, with just drums and sparse guitar before a raw bass joins the party…..an excellent disconnected vocal from Shelley Jane, with a gradually building level of intensity and tension ‘… when what I get is the minimum that I expect…’ soon exploding into the searing guitar-led sensational chorus… ‘…and being nice won’t save you…my strength is growing all the time…’
There are a couple of short instrumental bars but the rhythm guitar continues unrelentingly as the vocal phrases become more dominant, brittle and in the end unhinged… ‘… don’t say sorry for what I do…I could be nice this is the choice….’
4. Short Shrift. The relentless drum pattern steals the show as a platform for a loud doomy anthem with a mesmerising duo vocal chorus and sinister, echoing verses. It creates a dense and experimental texture but it is also simultaneously spiky and disconcerting like something from art rock veterans Wire.
A new single from Midlands based singer/songwriter Madison Fiorenza is a welcome slice of bluesy atmosphere, pervaded by a feel of darkening evenings and large open horizons. The delivery and tone of the opening line ‘…I wrap my eyes around you…you look at me like I’m in distress…’ seems to reference the much covered “I Put a Spell on You”, the 1956 classic torch song by “Screamin’ Jay” Hawkins, and immediately draws the listener inexorably into Madison’s world.
The combination of acoustic and echoing electric instruments creates the texture, but at the heart of this track is a carefully structured pop song where the stealthy verses set up a killer chorus ‘…like a fever dream, seeping through the cracks in my quicksand mind…’.
The musicians do a great job of balancing their contribution to the track, but the central vocal performance from Madison is the key as it glows with relaxed emotion, enhanced by some light and airy harmonies in the chorus.
This is an impressive debut from a promising new talent.
Derby based four-piece Pet Crow release a follow up to their 2017 debut long-player ‘A Simple Guide to Small and Medium Pond Life’ and the punching intro to opener ‘Limbo’ is a clear statement of intent. As on all of their tracks the band seem to extract depth and endless variety from the conventional bass/guitar/drums line-up as Danielle’s vocals soar and echo above.
Favourite track of mine and forthcoming single, the lively ‘Insomnia’ is B-52’s in full garage mode, with some of the busiest drumming on the album. ‘NOCD’ is a relentless groove with atmospheric guitar adornments and bass way up in the mix. ‘What We Doin’?’ maintains the power output level with an insistent chorus and unpredictable changes of pace.
‘One Whole Summer’ is a celebratory and creative three minutes with the drum kit flayed until it sounds like it is being thrown down the stairs and features the haunting refrain ‘….we can stay up all night…and the next day is a mess…’. ‘Controlling’ has some sparser passages and strange effects with a playful vocal driving the song. Title cut ‘Take The Edge Off’ is a sub two minute punk burst mainly built around the title phrase and still there are three more tracks to discover (including a surprise appearance of a frantic saxophone on ‘Scars’).
The album features excellent production, successfully capturing a ‘live’ sound – I was lucky enough to see them performing last year when they played a memorable standout set at the Leicester Indiepop half-dayer.
Emzae‘s previous release ‘Another Lesson Learnt’ was an introspective and hypnotic opus, driven by an electronica pulse and unrelenting percussive beat, winningly combining with a sensuous vocal and rich melody to complete the song. Like all of her work it was immaculately constructed and sculpted to maximum effect.
Now there is a new single from the Derby-based electronic composer/singer/instrumentalist and for this track she has thrown off the shackles to deliver a tight mid-tempo anthem with a perfectly timed dance groove. Emzae has complete control over her recorded output and each element is in place; a reliable root bass note, a dissonant fuzzy keyboard masquerading as a guitar and a chorus that shoots off in a different direction altogether, when some echoing background vocals join the party.
The lyric carries a pensive message; the narrator of the song is passing through crowds leaving work and contemplating their existence and consciousness – do we all share the same problems, dilemmas and perceptions? And taking this through to the conclusion in Emzae’s own words describing the song ‘…do any of us truly give ourselves the time to live in the moment? do we sit and enjoy who we are, become content in our imperfection and find enjoyment in the journey…?’
Whatever the potential truths of some of these thoughts this music is a powerful burst of energy to fully enjoy, savour and of course dance to…
I missed this when it first came out but having liked the idea of a domesticated corvid and seen the striking sleeve it just had to be looked into further…
Pet Crow are a four piece from Derby, confidently managing to extract a distinctive sound from the conventional guitar/bass/drums line-up. The as-live sound is spot on with the echoing vocals appearing over the distant hills to slice through some aggressive drums and bass.
Opener ‘Harold And Maude’ (named after a 1971 dark comedy drama) has an introduction reminiscent of old standard ‘Can’t Get Used To Losing You’ but don’t be fooled, when the band crash in there is no easy listen as the vocals carve their own path on top. ‘She’s back’ is driven by a busy bass line and guitar fireworks, ‘Bazwatch’ name checks David Hasselhoff (of course) and is all over in a minute and a half.
‘Pressure Sores’ is my favourite, with the plaintive vocal (…why can’t I just be me?…) never resolved over the restless instrumentation. Heavy. ‘Let Your Hair Down’ is superb too, with twin vocals, dissonant guitar and a bass and drum middle eight as anything but light relief. The longer track finale ‘Absorbed’ incorporates many of the musical ideas from the rest of this short and loud but perfectly realised album.