“Forget about it; let the two of us be a band!”
That was the beginning of French outfit Sendwood; a declaration roared when guitarist/vocalist Kriss Wood (ex-The Real Mc Coy) and drummer/vocalist Alex Mc Wood (Harmonic Generator) found themselves alone in rehearsal without any sign of their band mates. It is a spontaneity and defiance which equally fuels their music and a debut album which just makes you want to get involved.
From the first breath of Fist Leaf, there is a sense that anything could happen, that the pair themselves did not have a firm grip on where their imagination at the time of recording would take them or want to place one. The result a collection of songs which explode like a sonic scatter bomb on ears with the intent of fun, mischief, and rock ‘n’ roll. Last year saw the release of the duo’s first EP, Log Face, a potent introduction to their feral blend of blues, metal, punk, and rock which is off the leash within Fist Leaf.
The first of three tantalising instrumentals starts the album off, Riffocephalus Minus a lure of crisp magnetic beats and meaty riffs swiftly bursting into a fiery proposition, though just as quickly that in turn slips into a harmonica led flirtation before evolving once again. It is a sign of things to come, of the unpredictable devilish antics on offer.
Demon immediately bursts from its predecessor; rapacious riffs and grooves colluding with more of Mc Wood’s rousing swings to grab ears and appetite. It is rock ‘n’ roll to the core, a ferocious slab of infectious enticement easy to roar along to as also the following Needle. Gnarly riffs hit the spot straightaway, beats and vocals taunting as they bait lustier attention, the song uncaging a wild incitement of garage punk ‘n’ roll again needing just a mass of seconds to get under the skin as untamed stoner lit grooves entwine.
Then the virulent catchiness of Leash consumed ears, its grungy stroll and contagious swing an insatiable persuasion with, as in all tracks, imagination rousing detours of varying potency along the way, next up Gotham proving the point. The second of the two is an asylum of wiry grooves and nagging riffs driven by rhythmic manipulation and a vocal unity which share lyrics which may not be the most inventive in the city but has you hollering along with matching energy.
Riffocephalus Medius is a scuzzy slice of sound and temptation, a brief but potent piece of enticement setting up the snarling presence of Penny, a song as seductive as it is unbroken. As so many within Fist Leaf it just pulled ears into eager attention and pleasure in tandem with an increasingly greedier appetite for the album and its hungry sounds. Gun is no different, the track a compelling trespass of concussive yet well-balanced rock ‘n’ roll simultaneously chewing upon and caressing the senses.
The album concludes with firstly the viral exploits of Ber, a track which as the album is maybe not looking to breed uniqueness but is as fresh and as hungry to arouse as anything around. It is followed by final instrumental, Riffocephalus Rex; a piece of captivation which is deceptively calm but with a carnival in its heart which subsequently erupts into a dirty clamour before easing into its cycle all over again.
Both make for a superb end to a thoroughly enjoyable encounter. Rock ‘n’ roll should be fun yet imposing, flirtatious but aggressive and Fist Leaf, indeed Sendwood pretty much tick all the boxes.
Fist Leaf is out now across most online stores.
https://www.facebook.com/sendwoodwtf/
Pete RingMaster 22/05/2018
Copyright RingMaster: MyFreeCopyright
Be My Guest follows, a great dark grumble courting its croon before it roars with gusto and power, d’Arbigny’s fine vocals to the fore. His bass is a pulsating throb in its midst, the biting beats of Allard swinging with relish as Pavillon’s guitar weaves a melodic and sonic tapestry, the track as much a seduction as a trespass. With a rousing blues rock lining, the song is a tenacious pleasure quickly matched in enjoyment by the contagious shuffle of Red Coach. Its gentle emotive beginning does not give a clue to the energetic dance to follow, alternative and grunge tinged rock colouring its subsequent magnetic rock ‘n’ roll. Feet and hips were soon involved once it did hit its stride, the song one of many casting persistently nagging hooks.
The compelling start to the album is thickened by the menace lined flirtation of Stellar. Nogues vocally walks through atmospheric intimation; his tones and expression becoming more intense as guitars weave a captivating almost feral aurora of sound as again rhythms court the predacious climate with their manipulative swing. It is a truly magnetic soundscape for ears to embrace and the imagination to explore, the band’s own lyrical and physical suggestion equally sparking fresh ventures in thoughts even as the senses increasingly cower before the brewing celestial storm.
The excellent start only continues as The Project follows, its electronically hued entrance easily stirring keen attention before opening up into a rapacious almost carnivorous prowl. Metalcore meets groove metal as things intensify, many more strains of sound adding to the menace and imagination seizing trespass. Something akin to a fusion of Poison The Well, As I Lay Dying and Devildriver, the track gnaws and increasingly pleasures the senses, a success only escalating as the funkier throes of In My Jail tease and invade next. A beguiling web of styles and flavours, the track alone reveals the bold invention at the heart of Hampered and the expansive hunger in their sound which does not always get the chance to blossom as it might across the release. Here it is in full bloom, plaintive vocals and hungry sounds uniting in a ravenous assault of irritable yet severely infectious and predatory enterprise.
The Cajun opening of La roche et le rouleau is a deceitful prelude to rock ‘n roll time in the asylum; a wacked out stomp again involving an array of flavours in its contagion and even managing to keep feet and hips involved as it slips into a sultry noir lit jazz detour, coming out the other side with even more certifiable zeal. It is a madness which is even lustier within Paul, a track which has fifties in its breath, dark gothic theatre in its air, and blackened dementia in its heart. Many bands weave a tapestry of diversity but as this track alone echoes, few can rival Hardcore Anal Hydrogen in the organic fluidity it comes in or the bedlamic mastery.
The following The Best Is Yet To Come is just as quickly and intrusively gripping. Featuring Cancer Bats front man Liam Cormier, the track simultaneously grumbles and seduces in voice and sound, the rhythmic trespass of drummer Julien Chanel driving its intent and forceful urgency as the guitar and melodic aspect of the vocals bring a ferocity tempering enterprise. As its predecessor, it demands and commands willing attention with adventure and imagination.
Album opener L’Harmonie et la Force instantly spreads an atmospheric breath around ears, intrigue and shadows blending within its intimation as melodies begin to vein the lure. All the time a rhythmic pulse is brewing, looming closer with portentous hues and eventually driving the heart of the sonic incursion. Vocals scowl and holler as beats throb, melodic enterprise as toxic yet magnetic as the black raw intensity of the track. Within seconds the body was bouncing, ears devouring, and enjoyment brewing, the track increasingly offering the kind of predacious enterprise which marked out the last album but with greater craft and maturity not forgetting fresh character.