If there is a sound which lives up to its creator’s name more than that of UK post punk project Bait, we have yet to have the pleasure. As in irresistible evidence in a self-titled debut album, it is a snare for ears and imagination; a lure body and instincts alike cannot ignore and as primal and creatively visceral as it is intricately woven.
There is very little we can tell you about Bait, next to nothing to be honest except that it is the solo project of a musician/visual artist which made a seriously impressive introduction to attention within the Alternative Occupations EP released by the Southend based and the outstanding Asylum’s label Cool Thing Records which now lets the band’s first full-length off the leash. Sound wise, Bait conjure a proposition which cannot escape inspiring eager references to Killing Joke in their early days and also of bands like Red Beat, the Malicious Damage label mates of Jaz Coleman and co at the time. Just as quickly though, the band’s own unique character and imagination is infesting album and psyche in what is simply one of the most exciting things heard here in a long time.
Must Meditate opens up the album, its initial coaxing of increasingly excited electronic pulses and vocal endeavour united under musty sonic atmospherics. It is an intriguing introduction boiling up with every second into a tempestuous challenge of metal, industrial, and post punk espionage. Attitude fuels the potent mix, vocal prowess adding to the agitated nature of the song whilst synths and rhythms swiftly bring Killing Joke’s debut EP, Turn to Red to mind.
It is an outstanding start quickly backed up and shadowed by new single Push The Elephant. It is a predacious proposition, stalking the listener even with its boisterous gait while drawing their physical and vocal involvement with an infection spreading alchemy of sound and invention. Wiry hook lined melodies and a brooding bassline only add to the virulence hungrily at play, a united wall of temptation stirring a lustful appetite and participation in no time.
Hate One Another, Love Your Selfie brings a dark funk infused proposal next, its minimalistic yet broadly contagious enterprise woven with the nagging potency of Pop Will Eat Itself. Like a seductress, the track weaves its body calmly around tears, deviously underlying wantonness adding to its lure before Waspy consumes the listener with its punk spawn dance. Beats swat the senses with belligerent keenness whilst guitars caustically bubble on their surface with the melodic tempering offered by keys only seeming to add to the cantankerous air of the track.
The track which provided Bait’s offering on the aforementioned EP is next, I’m Still Here a glorious prowl of hypnotic rhythmic trespass and vocal captivation within a swarming tide of riffs and bass predation. Like a sinister blood lusting yet mischievously devilish mix of Shock-Headed Peters and Brian Brain, the song is pure addiction sure to repeat in many ears and nightmares at its own whim.
Humour is as potent an asset of the album and sound as its invention, Greatest Of The Teeth and the inspirational attributes of Janet Street Porter breeding another attitude driven confrontation to get greedy over. Again thoughts find seventies flavouring to refer to, Rema Rema and to a lesser extent Swell Maps sparked in thought by the compelling incitement but as usual all hues in a tapestry of sound and imagination distinct to and acting as irresistible Bait.
The album concludes with the pair of MZ 4416 and As Far As the Rope Goes. The first is a hungry muscular rock ‘n’ roll assault loaded with more piercing hooks than an abattoir and just as meaty whilst its successor haunts ears and thoughts with angular grooves and deceptively toxic melodies amongst respectful rhythms as vocals snarl with defiance. Both provide a ridiculously enjoyable and striking album with the close it deserves, each adding to the net of lingering temptation quickly drawing back lustful attention.
Bait is a thrilling proposal, band and release as suggested something which gets the juices flowing and you get the feeling they have only scratched the creative surface. Happy Days!!
The Bait album is released March 17th through Cool Thing Records @ https://bait.tmstor.es/cart/product.php?id=31492 with the single Push The Elephant out now.
Pete RingMaster 28/02/2017
Copyright RingMaster: MyFreeCopyright
Asylums set things rolling with a new previously unreleased track written and recorded as the busy wake of releasing acclaimed debut album Killer Brain Waves was settling down and the aftermath of Brexit consuming, that album still drawing plaudits and excited new fans the way of the foursome. Reflecting on “harsh education and health service cuts, post-Brexit Britain, and the running battle of grafting at creative efforts vs. grafting to keep afloat”, Alternative Occupations descends on ears with searing guitars and robust rhythms, openly sharing the creative traits which made the album and its songs such a rousingly infectious proposition. The warm and engaging vocals of guitarist Luke Branch increase the enticement, lyrical suggestion to the fore as melodies fly skilfully from his and fellow guitarist Jazz Miell’s strings. Feet are swiftly recruited in turn by the rhythmic tenacity of drummer Henry Tyler; it courting the seductive throb of Michael Webster’s bass as every element combines for another unique, memorable, and instinctively irresistible Asylums encounter.
Mixing a handful of treats from their previous EPs/singles with new slices of angular revelry, the foursome of vocalist/guitarist Luke Branch, guitarist Jazz Miell, drummer Henry Tyler, and bassist Michael Webster open up Killer Brain Waves with the mighty Second Class Sex. Its first breath brings a senses swamping tide of meaty rhythms and nagging riffs engaged in a toxicity of sound which simply infests the psyche. Though its spreads its body into a more expansive tempting, that energy never diminishes. Webster’s bass groans and growls in ears; a great lure matched by the swinging intent of Tyler as the swirling sonic seduction of the guitars lay their trap. With vocals just as potent and a touch of White Noise era XTC to the mix, it is a stunning start to the release, and one not losing a beat as I’ve Seen Your Face In a Music Magazine steps up next.
The foursome of Luke Branch, Jazz Miell, Henry Tyler, and Michael Webster introduced us to their scintillating creative credentials through the exceptional Wet Dream Fanzine EP this past February. It was a three track collection of the band’s singles to date, and a slightly deranged explosion of angular noise pop to get lustful over. Released via the band’s own Cool Thing Records, the EP was an inescapable wakeup call later backed by the single Joy In A Small Wage. Play-listed by Radio One amongst thick support and attention all round, the track opened up the more seductively mellow side of the Asylums sound whilst accentuating a busy summer of success which saw the band playing a host of UK and European Festivals including Glastonbury. Now it is the turn of Missing Persons to light a fuse to swift acclaim and hungry new appetites for more; success hard to see being escaped such the persuasion of the richly dynamic song.
minutes the track takes to leap all over and inflame the passions.