With the debut album from Hot Sauce Pony prowling anticipation, the UK outfit unleash its first lure in the shape of the carnally seductive Burnt Ends. The track is a ravenous teaser of that forthcoming self-titled offering, a song which has calm, beauty, and ruin colluding for a frustratingly but imperiously short one minute plus.
Formed in 201, the London band consists of vocalist Caroline Gilchrist, guitarist Ross Davies, bassist Stephen Gilchrist, and drummer Anna Dodridge. Their sound is a unique fusion of noise and punk rock with grunge, post punk, and hardcore hues. They call it Avant Hard; we call it in regards to the new single feral sensuality. The track and the upcoming Steve Albini (Pixies, Nirvana, PJ Harvey) album follow a first single in Fenced In which aroused rich attention and intrigue. Burnt Ends more than builds on its ear grabbing success and thick potency with a moment where extremes unite to devour the senses with beauty and ruin.
From its first breath Burnt Ends had us licking lips, the charred growl of the bass a bestial temptation matched by the just as roasted snarl of the guitar. Swiftly the melodic siren tempting of Caroline’s vocals drew ears deeper into the cremated offering, the slow manipulative swing of Anna’s beats just as irresistible. Like a fusion of Horse Party, Morass Of Molasses, and Mudhoney with a whiff of Young Marble Giants yet firmly individual, the track just got under the skin and into the psyche as hips continued to sway to its primal groove.
Such the pleasure, it really does frustrate when the track stops suddenly and without warning barely a clutch of seconds past its first minute. It leaves nagging, teasing fingers though as its elements continued to echo in thoughts long after departure.
Leave them wanting more is the key to success some say, and without doubt the hunger for the band’s eponymous debut album is on the point of rabidity thanks to Burnt Ends.
Burnt Ends is released June 22nd via Brixton Hillbilly. The band also has first single Fenced In available as a free download @ https://soundcloud.com/brixton-hillbilly/fenced-in-by-hot-sauce-pony
Upcoming Hot Sauce Pony live dates:
23rd June Club 85, HITCHIN
30th June Betsy Trotswood, LONDON
16th August – HY-Brazil, BRISTOL
https://www.facebook.com/hotsaucepony/
Pete RingMaster 20/05/2018
Copyright RingMaster: MyFreeCopyright
My Complexion follows, swiftly sharing its own infectious gait and nature as LL courts ears and thoughts with her evocative words and enticing voice. Its unique spice adds a delicious tang to her melodic prowess, essences emulated in the blend of jaunty guitar and jazzy bass alongside. An eruption of fiercely fragrant guitar only adds to the temptation, a one off moment not to be repeated but lingering as long as the song’s general spring and beam.
In creating the album, the duo sent their 12 tracks to their favourite producers with the request of collaboration for the release. The list included the likes of John Parish (PJ Harvey, Goldfrapp), Rob Kirwan (The Horrors, Depeche Mode), Christopher Berg (The Knife), Ian Caple (Tricky, Kate Bush), Joe Hirst (Stone Roses), Alistair Chant (PJ Harvey & John Parish), and Lucas Chauvière (De La Soul). As evidence of things being meant to be, each freely chose the same track Victoria+Jean had intended and hoped for them; a move and success which only adds to the album’s vastly diverse and eclectic character.
From one major highlight to another pair in Reason to Die Young and La Uva. The first seduces and bellows like a blend of PJ Harvey and a restrained Lene Lovich, voice and sound effortlessly inciting body and emotions with its tempestuous yet wholly virulent, slightly No Doubt like, blaze. Within it that an off kilter enticing adds a great unpredictability which is fully explored more in its successor. The fourth track on the album is a maze of textures and inventive sound entwining with and bouncing off the superb vocal union between the siren-esque harmonics of Gender Bender and the dark, lordly tones of guest Iggy Pop. Like De Staat meets Bauhaus with the devilment of a 6:33 infused, the track is a gloriously sinister and gripping fascination; a union of dark and light, warped power and innocence.
The album opens with Magnet Eyes and an immediate inescapable tempting of warm guitar and keys taken to another enslaving level by the unique tones of Hill. Her voice has a quality of sounding familiar as well as freshly bewitching, but from person to person it seems we hear someone different as a reference, the likes of Laura Marling, Regina Spektor, Sinead O’Connor, and Chrissie Hynde just some references used, with the latter the closest for us as a descriptive hint. As the song stretches its melodic nature and evocative air, a shadow of darker resonance comes into play to catch the imagination all over again, whilst voice and keys especially almost flirt with rich expression and emotive radiance.
It is fair to say if only with one song to assess it by so far, that it was a reflection and exploration spawning potent results. Kunz, guitarist Fabio Couto, and DJ/producer Gabriel Ralls have returned with a feistier and more voracious attitude in sound and intent. Coming together as Plastique, Brazilians Kunz and Fabio Couto with British bred Ralls quickly gripped keen attention with their self-titled debut album late 2011. It was a release backing up their growing stature on London’s alternative scene, a presence pushed and ignited further by its successor #SocialScar two years later. Now after that time away, the threesome are back with a more industrial rock fuelled incitement, one sure to spark frantic activity on the dance-floor again but this time with darker predatory inclinations.
Lovely Linda Lustsalot. It is a primal lure soon joined by similarly addictive riffs and hooks from the guitars of Dick Deviant and Sassy Kraimspri, whose vocals blaze upon the ear the moment they touch. Driven by the resourceful and inciting rhythms of Etienne the Frenchman, the track swaggers with a defiant and saucy gait which itself enslaves attention. There is an instant indefinable familiarity to the song too, creating an old friend in new explosive clothes stance to make a recognisable yet fresh impact accentuated by the ridiculously anthemic chorus with its swinging hips and seductive lures. As the accompanying press release suggests there is a definite PJ Harvey edge to the vocals of Sassy whilst musically elements of L7 and Valentiine revel in the dusty hard rock and infectious punk exploits combined. The song is a riveting and extraordinarily thrilling encounter which puts the pressure of the other two tracks alongside it.
little time in gripping attention and a swiftly growing appetite with opener Cradle Your Device. From the dark heavy bass strum and melodic caresses around the mellow voice of Brosseau which opens up the track, an addictive potency frees its enticement to wrap around the senses and imagination. There is an eagerness and almost punk simplicity to the track which is impossible to ignore or resist, and admittedly generally move on from without a couple of replay hits before entering into the rest of the album. It is a dramatically virulent and emotive delve into a technology hampered relationship and the pinnacle of the album which instantly puts pressure on the rest of the release.