A band we found ourselves hooked on back in 2018 through their debut album Ubik, Greek outfit Head On has so far evaded the major spotlights which we suggested were on their near horizon courtesy of their striking full-length but are back to tease them once again with their new two-track single.
The Athens hailing band again breed their tracks from a post punk heart enveloping both with just as potent post rock atmospherics but swiftly both Robert Christgau and Greil Marcus reveal the band’s sound has embraced a far richer and thicker expanse of flavouring compared to that within their impressive album. Equally there is a bolder maturity to the web of styles and imagination making up its senses entangling prowess, one increasing that suggestion that Head On deserve greater attention.
Both tracks making up the single are inspired by American music journalists and each a tribute with a touch of individualism and rebellion which could be said to equally spice the writers work. A-side is Robert Christgau, a song immediately winding attention enticing guitar wiring around ears. Rhythms gather with increasing intensity too though they never quite find a concussive touch as the track slips into its infectious post punk nurtured stroll. Tofer’s vocals join the canter, his resolute tones firm but with the same underlying off-kilter dynamic as carried by Breathiac’s guitar and Levojohn’s bass. With the equally purposeful beats of Kostas driving and adding commanding manipulation to song and listener alike within the melodic web cast by Breathiac, the track is pure captivation; essences of bands such as early Cure, Unsane, and KEN Mode coming to mind in varying degrees.
Greil Marcus provides the B-side and similarly had us on board from its initial nagging breath as guitar and bass nudges teased and lured before uniting in a more voracious canter with those same virulent hooks at work. There is something akin to a fusion of fellow Greeks SPInnERS and Russian punks Biting Elbows to the song but swiftly Head On stamp down their uniqueness as the cold taunting of the track and its virulent character thick in enterprise got under the skin. Senses scorching eruptions in sound and especially Tofer’s vocals only add to the tension and captivation of the track, its ferocity and disturbed breath adding to the thrilling drama.
Both tracks had us hungry for more and eagerly anticipating the next unpredictable Head On roar which hopefully will have a much larger landscape of ears waiting its unveiling if the band’s new single gets its deserved reward.
Robert Christgau/Greil Marcus is available now @ https://headongreece.bandcamp.com/releases
https://www.facebook.com/Head0n/
Pete RingMaster 05/02/2020
Copyright RingMasterReview: MyFreeCopyright
With barely a breath drawn, Future Duke burst upon the senses next, its barbarous trespass as infectious as it is fearsome as it descends on beleaguered senses. As with the first track, there is a noise punk ferocity and predation to the assault which instantly grabbed approval and only enhanced its grip as melodic and progressive hues blossomed within the, at times, carnal maelstrom of sound and innovation. Glorious and devastating, the outstanding track is only echoed in temptation and striking prowess by Presto Change-O, its challenge immediate, visceral and inescapably stirring as the guitar feverishly burrowed under skin already battered and bruised by contorted rhythms. From that sonic insurgence a delicious melodic teasing adds its own bait, a riveting concoction which only intensifies as the track bares its unmethodical but skilfully woven drama. Even clutch of seconds brings fresh enterprise and incitement, keys and vocal variety adding to the genius outpouring.
Doesn’t Feel Pain Like He Should is the first venomous treat from Loved, the track instantly lancing the senses with a sonic incision before the fierce rapier swings of drummer Shane Matthewson descend closely aligned to the ravenous grumble of Scott Hamilton’s bass. The caustic wires cast from Jesse’s guitar equally infest song and listener making a nagging cradle for the raw throated squall of his vocals all the time rhythms breeding greater virulence in their trespass. It is a glorious nagging of sound taking swipes and bites with every elevation of animosity and twist of enterprise resulting in a deliciously corrosive start to the release.
The great start continues with the equally infectious and fearsome Emmett Brown Has Never Met A Scott That Wasn’t Great. From a more low key start, a thick tide of riffs and rhythms descend on ears before stepping aside momentarily for that great initial coaxing to grip attention all over again. Throughout, the song makes for an intrusive and abrasive proposition but digs into the psyche just as potently with its unpredictable and inventively twisted web of noise and ear gripping adventure. It’s easy to offer Melvins as a hint to the song’s escapade whilst the even more outstanding Benaquyl and its enslaving rock ‘n’ roll nudges thoughts of bands like Gruntruck and The Great Sabatini in the course of sculpting another pinnacle within Euphoric straight after. The song also highlights more of the variety of spices in the band’s sound, stoner and punk as open as this slab of noise rock breeding.
Absence is the first welcome stirring of the senses, tangy grooves and thumping beats enriching an instant sonic swamp of noise swiftly loaded up further with the distinctive, angst hued tones of Warner. It is a striking and invigorating mix which has body and thoughts fully involved from the first trespass. Like something springing from a blend of Melvins, Quicksand, and Sofy Major, the track continues to growl and flex its confrontational muscles yet breeds an inescapable contagion. Adventure is already bold in the album, the song for example slipping through mellower evocative scenery across its potently unpredictable landscape for a mighty start to the inventive emprise of Smile Club.
The EP seizes ears and appetite straight away with the raw, grouchy entrance of opener Hammslamm. Guitar and bass grumble with attitude and resonance first, their grudge backed by the firm handed swing of drum sticks. It is a controlled and predatory start but one becoming more volatile with every passing second, especially once the caustic vocal squall of Roeske spills animosity. Acidic infectious grooves soon vein the unrelenting stalking and pressure on the senses, the song’s raw rock ‘n’ roll constantly igniting greater hunger in ears and emotions, especially when it break outs Sex Pistols seeded riffs and hooks midway. Like Whores meets KEN mode with the sludgy venom of Nightslug but managing to be simultaneously unique, the track is a mighty start quickly matched by its successor.
It’s opening handful of seconds are an inviting temptation but in no time Jesus becomes a searing sonic wind blowing over thickly jabbing rhythms and coming loaded with spicy hook lined enterprise from the guitars. Vocalist Marco Fresia roars just as swiftly and intensely in the tempest whilst the caustic breath and heart of the track is perfectly tempered by the magnetic lure of the throaty bassline from Morgan Ferrua and the controlled rhythmic dance cast by drummer Davide Gallo. There is no escape from the sheer energy and emotional turmoil of the song though or its flesh scarring sound with its virulent onslaught as gripping as it is intimidating.
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.