Such the dark majesty and ravening twisted exploits of debut album Danger Dance last year, we found it hard to imagine that Noseholes could eclipse its striking character and triumph. Well with its successor the German outfit has done just that whilst taking their sound into new intrigue loaded, virally compelling devilment. Ant And End has not wiped the floor with its illustrious predecessor but built on all its dark and aberrant brilliance to forge a whole new and sensational Noseholes escapade so easy to greedily devour.
Within a sound bred from the voracious instincts of post punk, no wave, and anomalous disco, the Hamburg hailing quartet of Henk Haiti, Steve Somalia, ZooSea Cide, and TH have ventured into darker corners and brighter trespasses with Ant And End. Still the body was a puppet to the band’s fiercely manipulative antics as they sprung a creative harassment to drool for, but the imagination was taken into the crevices of a more dystopian exploration bringing new esurient peril to their compulsive dance.
The album opens with Snowsuit Ranger and instantly roams the body with devious grooves and atypical enterprise. Rhythms tease and taunt, directing song and listener with their infernal bounce as eagerly tantalising vocals and deviant electronics are embraced by a quirky web of guitar. Like a distant relative of a merger between Au Pairs and Blood Red Shoes, the track is glorious, setting the voracious tone of the album and submissive mood of its victim alike.
The following IQ Model is just as rich a tempting, its gait a calmer virulent but clothed in mysterious atmospheric smog of intimation. The similarly reserved stroll of the radiantly dour bass fuels the blossoming industrial espionage of the song, vocals the magnetic narration to its seduction before the album’s title track got under the skin and had feet, hips, and instincts abound again. Whether an inspiration or coincidence, again eighties bred post punk/new wave spices up a slice of inescapable insistence, the likes of Delta 5, ESG, and Pylon hinted at.
The pure captivation of Vacuum Flies followed, its initial teasing shadows and suggestive drama alone hooking unbridled attention, the Essential Logic-esque flame of sax ear manna across the equally compelling rhythmic saunter which riveting vocals intimately drape over. With a Bauhaus hue adding to the pleasure, the song just mesmerised before letting Glimmering Mamba infest body and spirit with its hungry contagion. Not for the first or last time, there is a Gang Of Four lining to the irresistible rhythmic pestering, a nagging matched by the often simple but skilfully woven hooks and swarm of electronic baiting, but as always for all the hints given song and sound are unapologetically uniquely Noseholes.
Casino E Vino provides its own infective canter next, breeding a pandemic of temptation which lingers far beyond its final greed soaked lure while Radio Universe links its wires to body and imagination, the body in turn dangling and dancing like a willingly submissive puppet.
The album closes out with the pair of Jackson 4 and Baked Beans. The first springs its indie pop involved post punk exploits with boisterous intent, once more hooks and chords as lively and hungry as the inimitable rhythmic shuffle infesting is persuasion. Its successor though heavier, darker, and far more sinister manages to be even more viral like in its strands of temptation and collective jeopardy. Increasingly catchier and irresistible by the second, the track is a glorious end to a simply stunning album from Noseholes.
Ant And End provides one of those moments when music proves why it is the most addictive and vital thing in a chaos searching world; indeed the second such revelation with Noseholes.
Ant And End is out through ChuChu Records on May 17th; available @ https://noseholes.bandcamp.com/releases
Pete RingMaster 17/05/2019
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