With a new drummer on board, John Stewart (Bloodlet/Caribou King) replacing departed founding member Tim Creter, Florida doomsters Hollow Leg unveil a their two track trespass this March. An individual grumbling fusion of the doom/sludge fuelled metal the band has already been the subject of acclaim for, the Murder EP reveals a new fresh roar and growth in that proposition and, as suggested by its press release, emerges “the band’s strongest material to date”.
Mixed by Sanford Parker and mastered by Collin Jordan, Hollow Leg starts its proposal with Raven. The initial volley of firm beats almost stalks the listener as the song makes its first move. A momentary breath then follows, opening the way for dirty riffs and scowling vocals to lay their hand on the senses as rhythms bring their heavily sinew bound incitement to bear on the blues scented, sludge fuelled consumption of ears. Shifting through the gears back and forth in attack, the track quickly becomes a grumbling treat; essences of the likes of Eyehategod, Weedeater, and Crowbar making tempting hues in the band’s provocative web of sound and texture.
The following title track is just as generously flavoured but veering towards the more stoner-esque side of their sludge/ doom collusion. Tangy grooves are swiftly entwining rapacious rhythms and eager ears, riffs a bed of controlled antagonism beneath them as vocals carry a more open snarl to their character. Though generally a more energetic proposal, the song does slip into moments of lumbering doom threat only increasing its intensity and bait as melodies gather in the shadows waiting to provocatively dance on a subsequent passage of lighter flirtation before things return to the predatory incitement it all began on.
Both tracks bring a fresh wind to an already in place appetite for Hollow Leg and their compelling sound found through debut album Instinct a fair while back, and a keener anticipation for what is to follow.
The Murder EP is released March 3rd through Argonauta Records on all digital formats with a physical release to follow later in the year.
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Pete RingMaster 03/03/2017
Copyright RingMaster: MyFreeCopyright
It is a mighty start taken another level by Wheel of Swords, another track with an irresistible start to its creative alchemy. A great nagging from riffs as rhythms tumble vivaciously coaxes ears first, their lure replicated in varying tones as sterner grooves and muscular predation swiftly looms up with the again potent vocals of Morris at their helm. Like Black Tusk meets Baroness with a spicing of Sabbath and Clutch to it, the song has energy and pleasure in its hands with quick ease, handing over an exhausted and rapturous body to the following Into The Trees and its mellow climate around melodic prowess. Keys emotively caress as the guitars strokes the senses with elegant suggestiveness to match the melancholic voice of Morris. The first half of the song is wrapped in this mesmeric beauty, its second a rugged landscape of again incendiary rhythms amidst tangy classic metal/rock endeavour and striking vocals.
It is Bud Vessel which lights the touch paper to the album, its two minutes plus of vicious addictiveness an instant onslaught of barbed hooks and spicy grooves encased in fuzz soaked, snarling causticity. With mercilessly stabbing beats from drummer Joe Woodbury in the driver’s seat, the track careers through ears with the squalling hardcore tones of vocalist Shane Miller an acidic burn in the hostile and contagious smog of the song. Stoner seeded grooves spring their bait throughout too, everything colluding to ignite ears and emotions in a blaze of cancerous temptation.
marked for. Within as many seconds, the bass is roaming ears and psyche like an apocalypse gracing charger, striding with predatory intent as grooves and riffs combine for a nest of viperish intent. Similarly lively rhythms from the drums prowl and stroll across this already bewitching landscape, the seductive and melodically dynamic adventure one scene in a rich drama clad tapestry of dark intent and compelling intimidation. For all its predacious craft and hunger, there is an infectious charm to the track too, light and dark challenging each other whilst colluding in the creation of even more provocative hues in the tempestuous narrative. The dark side is driven by the guttural scowls and gothic animosity of the vocals whilst the guitar’s enterprise escorts lighter defiant elements which persist in their persistence until the ferociously boiling and venomous climax of the song. It is an enthralling and ruggedly enjoyable nine minutes easily confirming the impressive qualities and sound of Mortals.
Descend is their first offering, a track which from a melancholic and darkly lit melodic embrace erupts in a predatory and thunderous stalking of the senses. The intensive rhythms of drummer Tony Secreto are vindictive in nature whilst the equally primal basslines of Rob Petraitis growl and leer intimidatingly within the doom drenched atmosphere of the imposing encounter. The guitar of Jon Rifenburg brings various shades of intimidation and temptation to the volatile but controlled tempest too, his enterprise equally sculpting a web of magnetic lures around the malevolently toned vocals. It is a captivating proposition which awakens intrigue and interest in the band before their second song From Jerico to Ai lays a more fascinating and thrilling invitation down. Bass hooks are aligned to acidic guitar grooves, it a mesh of enticement which continues to spear the increasingly ravenous atmosphere and character of the track. Heading only to a turbulent and hostile climax, the track is a riveting persuasion showing more of the depth and imagination in the band’s song writing and sound.
gravelly delivery somewhere in the ball park of Phil Anselmo. The song itself can be best described as a mix of System Of A Down, Bloodsimple and indeed Pantera, yet there is plenty more hinting and teasing within the provocation, and showing stronger glimpses as the release proceeds.
creative intrigue of Ireland. Its sonic opening is soon drawn into a web of mightily swung beats and sonic resourcefulness, subsequently relaxing into a formidable and inventive examination of the senses. The guitars chug and flame with their varied resourcefulness whilst bass and drums create a barrage of bait and provocation, this around the strong tones of Moots. It is heavily enticing bait which manages to loosen its grip and adventure in places as potent melodies act as a temper to the riveting roar of the song. It is not a big deflation and only satisfaction and praise comes to the persistence of rich ideas and imaginative enterprise still tempting within the song, but it is enough for it to simply smoulder rather than blaze in personal tastes.
lacks the spark and in the face potency of its predecessor, something the next up You And Your Daughters is more capable of. Bluesy grooves entwine ears straight away as beats jab powerfully across their fiery coaxing. With vocals and riffs joining the swift temptation on feet and emotions, it is a rigorously inviting opening accentuated by sonic flames searing the magnetic spine of the song. There is also a seventies hard rock breath to the caustic sound fuelling the proposition, a lure which easily secures full attention and appetite but it is the mid-way twist into a bordering on bedlamic post punk/garage rock venture reminding of The Three Johns, where a great track becomes an outstanding one.