Hey Colossus – The Guillotine

As proven time and time again with UK outfit Hey Colossus, the only thing expectations can assume is that any encounter with them will be thickly compelling and singularly distinct in theirs and the surrounding musical landscape. And so it is with new album The Guillotine, a release taking the sextet’s sound to a new terrain of adventure and unpredictability whilst bewitching body and imagination like never before.

Formed in 2013, Hey Colossus have persistently nurtured and evolved their sound and its exploration; from the earlier lo-fi sourced, psychedelic and heavy noise rock bred triumphs of Radio Static High and In Black And Gold, the two albums which really drew thick attention the way of the band through the more hi-fi live causticity of Cuckoo Live Life Like Cuckoo, nothing has ever stood still or relaxed into one realm of imagination. Within those albums, there was an open quest to push things further and further.  The Guillotine is no different, a creative emprise of brooding tones and dark atmospheres woven into trespasses of the imagination and physical arousing of body and spirit. Using hindsight, there has been hints to this new vein of fertility within previous releases, especially those just mentioned but glimpses of something startling and vigorously thrilling which trespasses us now.

The Guillotine sees the controlled and new mesmeric tones of Paul Sykes to the fore, his presence almost like a storyteller and as boldly alluring as the sounds and voices found within the collective ingenuity of Rhys Llewellyn, Roo Farthing, Robert Davis, Joe Thompson, and Timothy Farthing alongside. The album begins with the tantalising dark psych rock of Honest To God, a track which is pure alchemy. Its initial wiry psych shimmer breeds a post punk lined meander as a slowly strolling guitar and bass grooves saunter across the awakening web of temptation. Every aspect is a rich lure, accentuated by Sykes’ gentle but dark vocal swing. Like a nostalgia kissed mix of Spizz Energi, Zanti Misfitz, and The Three Johns, the song teases the psyche with its seductive fingers while brewing up a raw energy which erupts with scuzzy zeal. Revolving through each stage of its perpetual metamorphosis, the song is pure manna for noise/post/psych punk hungry ears and appetite.

The exceptional start is swiftly followed by the fuzzier venture of Back In The Room, a track rolling on hypnotic rhythms and fizzing upon the senses with its three guitar pronged shuffle. The dual attack of vocals is just as magnetic, a collusion resourcefully driving the volatile proposition with a hint of The Birthday Party adding to its arousing shadows and increasingly rabid head. The song is part nagging dirge and part raw but multi-textured seduction united in a thorough captivation which eventually makes way for the gentler climate of Calenture Boy which smuggles its increasing delirium through ears while a smouldering climate is equally blessed with a sonic psychosis which sizzles with increasing heat second by second.

Its raw croon is followed by the mercurial enterprise of Experts Toll where beats dance with flirtatious trespass as the bass throws its own captivating dark steps into a jungle of craft and skittish imagination. The song’s relatively calm opening and agitated dexterity is subsequently given to more forceful inclinations, the track twisting into a heavily stomping, dirtily intensive brawl of enticing sound cored again by those unruffled vocals before Potions casts its own somnolent charms around ears like a melodic narcotic shaped with stout rhythms and veined with willowy psychedelic tendrils. As its creative elixir thickens so does its intensity but moving through the stages of evocative density with a calm and fluid ingenuity.

Though every track within The Guillotine had us locked into its snare, certain moments simply steal the passions; Englishman the stealthiest, glorious one of all. A stroll of senses clipping beats, broody basslines, and teasing riffs, the song simply bewitches. Scything melodies and infection loaded vocals only add to the irresistible bait enslaving ears and imagination which though not necessarily in matching sound, creates a tapestry rich in the attributes of XTC, Melvins, Talking Heads, and Fugazi; all twisted and reenergised by the unique imagination of Hey Colossus for total bliss.

The album concludes with firstly In A Collision, another brooding trap of sound and creative cunning as shadowy as it is instinctively catchy, even when its once darkly mellow body and atmosphere ignites with dirty raptorial virility. Raw beauty from start to finish, the song is succeeded by the album’s title track, an even more predatory proposal drenched in melancholy, antipathy, and sonic mesmerism with the bass at its earthiest, carnivorous best. With the guitars as potent in elegance or being abrasively bracing, the song is a final captivation to get hooked on and lost in.

The Guillotine is simply magnificent, leaping to the frontline of favourite releases of the year so far with its manipulation of body and imagination while proving Hey Colossus as one of, if not the, most exciting thing in the weaving of noise around.

The Guillotine is out June 2nd through Rocket Recordings and available @ https://heycolossus.bandcamp.com/album/the-guillotine

https://www.facebook.com/heycolossus/    https://heycolossusband.wordpress.com/    https://twitter.com/HeyColossus

Pete RingMaster 02/06/2017

Copyright RingMaster: MyFreeCopyright

Hey Colossus – Cuckoo Live Life Like Cuckoo

 

    HC Front    Fusing sonic manipulation, melodic discord, and compelling noise into an inventive and startling persuasion, UK band Hey Colossus has never stood still in stretching their and our boundaries, but with new album Cuckoo Live Life Like Cuckoo the band has created their finest hour for possibly our most rewardingly intrusive pleasure. Released via MIE, the eighth album from the London/Somerset octet has evolved their previously unrelenting and arguably sadistic sonic furnace into a sound which still offers nothing less than delicious abrasion but now takes its time to envelope, seduce, and corrode the senses.

     Whether a coincidence or the spark to the shift in intent, the band has enlisted Part Chimp guitarist/vocalist Tim Cedar into their line-up on drums, his presence igniting a new and fresh energy within the existing potency.  Opening track Hot Grave immediately sets the scene, its grazing guitar rub and shimmering sonics a rough dazzle marking the start of pulsating rhythmic enticement and rousing flames of guitar. With a heavy swagger and intensive gait to match, the track churns up the senses with a stoner groove and an exhausting repetitive slow rhythmic entrapment glazed in similarly sculpted riffing. The vocals of Tim Farthing also have a caustic sway to their presence, their individual rough aural scars a blistering inducement to the hypnotic repeating prowl of the song. The crystalline enterprise which reaps the fumes of the uncompromising heavy stance adds another incendiary breath to the encounter and induces intrigue and magnetic compulsion from thoughts and emotions.

The following Oktave Dokkter seamlessly steps into place with a carnally driven bass which recalls early Killing Joke, as does the serpentine effected vocal squalling which walks the stalking rhythmic provocation. There is also an early Birthday Party psyche enterprise to the prowling cause of the song, whilst the noir spiced shadows are teeming with seedy whispers and devious temptation. Again the repetitive mesmerism from guitar and rhythm is as infectious as it is debilitating whilst the caustic ambience pervading all is an ominous and intimidating coating to the exhausting and rigorous embrace.

The album plays like one whole journey, an overwhelming encounter split into individual and distinctly unique parts, a satanic sonic jigsaw which corrupts and thrills on every level. How To Tell Time With Jesus is the pinnacle of this, its psychedelic drizzling within a sunset of sonic heat a smouldering entrancement which ripples with acidic veins around the continuing to impress rhythmic entrapment of Cedar. As with all songs the additives open up further flourishes and imaginative flames within the ingenuity, the punk vocal squalls and dub induced shimmering distortions a glorious and scintillating pattern. The singular gaits of elements across the surface of songs often belies the depth of craft and honed thought which bloom within the hearts of the compositions but reap the reward of the invention to accentuate their own particular potency.

Leather Lake is an intense and threatening doomy scourge with darkly melodic blisters and rapacious sonics which crawls over the synapses with insidious breathe whilst the following English Flesh is a maliciously coarse attrition which overwhelms the ear with cavernous hunger and a greedy intent vocally and sonically to ignite the passions further. The heavy electro sweep guiding the song is as addictive as the compromising swing of the malevolent groove at duplicative play, and all combined makes for a systematically ravaging seduction.

After the closing Pit and Hope and its reserved ambience and psychedelia rinsed suggestive embrace, the knowledge of how impressive and powerful this album is rifles through thoughts and emotions. Though it is not exactly an easy listen throughout the album undoubtedly is a magnetising encounter which evokes and provokes the strongest reactions and passions. Hey Colossus continues to lead the way with invasive and dramatically appealing sonic alchemy in the UK with Cuckoo Live Life Like Cuckoo probably their finest conjuration yet.

https://www.facebook.com/heycolossus

9/10

RingMaster 04/04/2013

Copyright RingMaster: MyFreeCopyright

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