One of last year’s highlights was undoubtedly the broader introduction of UK noise punks Gravves through debut EP Rattle. Now the band is ready to whip up even greater fuss and raucousness with its successor whose title pretty much sums up reactions to it, Oh, The Joy.
The North Wales hailing outfit create a cacophony of sound and enterprise littered with devious hooks and senses harrying rhythms. It is borne of a fusion of punk, noise, and alternative rock, the lustier ingredients of each uniting in a bold and often caustic roar as virulently infectious as it is eagerly abrasive. If Rattle highlighted its instinctive persuasion, Oh, The Joy rams it down eagerly welcoming throats with even greater relish and ferocity.
The trio of bassist/vocalist Adam Hughes, guitarist/vocalist David Thomas, and drummer Tom Williams swiftly blast ears with the Michael Whalley (Kong, Bipolar Sunshine) recorded EP through opener Power Bomb Baby, each of the three bombarding the senses with raw energy and zeal. William’s beats take no prisoners whilst guitar and bass harry and taunt with rapacity as vocals blaze. As imposing a trespass as it is, the track is fuelled by infectious rock ‘n’ roll, sweeping the listener up in its tenacious garage punk/noise rock lures and energy.
The track continues the character and intent which made the band’s first EP so irresistible yet already there is a richer craft and individuality to the band’s sound which continues into next up Monster Truck. The second track also thrusts its rhythmic aggression and vocal abrasion immediately through ears but soon shows a more controlled if still devious attack with skin burrowing hooks and an irritably grumbling bassline; attitude simultaneously fuelling the heart of the outstanding song in word and sound.
From a scuzzy wind This is Bliss springs an indie meets garage punk incitement which had the body rocking with swift submission, Gravves tempering its punk causticity and elevating their cunning imagination for virulent hooks and invasive swings. Like a mix of the St Pierre Snake Invasion and The Eighties Matchbox B-Line Disaster, the track quickly had juices running as too did successor Sinister Surf. Emulating its title in flavour and noir lit breath, the track simply haunts as it prowls the senses, seducing and invading with sublime ease and touch even as its tantalising grooves erupt with caustic emotion and intensity.
Hello Sailor bawls and stomps with its own particular virulence next, manipulative hooks and rhythms controlling instincts and limbs like a dictator as guitars spread melodic corrosion across their invasion. The surf rock scent of the previous track is still lapping over things but from a more early Horrors like distillery and it works a glorious treat.
Bringing things to a close, L is for Loser roars with sonic severity veined with a tangle of inescapable hooks and severely magnetic grooves; a track unleashing its full weight on the senses with fury and relish.
It is a fine end to another encounter with Gravves which left us breathless and greedy for much more. It has built upon the strong qualities of the first EP with hunger and imagination whilst still hinting the journey for the band’s sound is far from over. As the new encounter says, Oh, The Joy!
Oh, The Joy is out now through Loner Noise Records and available @ https://gravvesgravves.bandcamp.com/album/oh-the-joy
Upcoming live shows:
06 May 2018 – Liverpool UK, Sound City
10 May 2018 – Wrexham UK, Focus Wales Festival
11 May 2018 – Preston UK, The Ferret
12 May 2018 – Wrexham UK, Focus Wales Festival
26 May 2018 – Llanidloes UK, Kingsfest
27 May 2018 – Birmingham UK, Die Das Der
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Pete RingMaster 02/05/2018
Copyright RingMaster: MyFreeCopyright
Recorded with Michael Whalley (Mums, Kong, Bipolar Sunshine), Rattle simply explodes on the senses as opener My Pet Rihanna unleashes its sonic tirade. Within the clamour though, a virulent groove is forming, escaping and driving the song from thereon in as vocals clash and collude in noisy emotion while guitars and bass flare up and seductively groan respectively alongside each other. There is an inner calm in the turbulence too, a magnetic lure which breeds monotone vocals alongside the established outcry in a reflection of the dark touch of bass. There is no escaping the air of the previously mention Brighton band and at times there is a touch of fellow Brit up ‘n’ comers like The Droppers Neck and The St Pierre Snake Invasion too, but the track swiftly breeds its own identity.