The suggestion of a bold new roar within the British alternative rock scene came with a self-titled debut EP last year, now Eastbourne hailing quartet Saint Apache confirm their potent emergence with its ear grabbing, spirit sparking successor. Wolf Machine is a blaze of muscular and tenacious multi-flavoured rock ‘n’ roll, a proposition often as bruising as it is rousing taking the potential of their first encounter to new creatively accomplished and energetically hungry heights.
Formed in 2015, Saint Apache weave their blaze of sound with an array of influences said to include the likes of Every Time I Die, Buckcherry, and Rage Against The Machine. It is a fiery mix with a volatility of thought and intensity which catches the imagination with ease within Wolf Machine. As mentioned, their debut EP was a potent opening encounter with the band; a promise fuelled introduction swiftly pushed and eclipsed by the rapacious presence of their new creative challenge.
The release opens up with a richly enticing hook; You’re Not A Slave instantly laying down a rich scuzzy lure quickly joined by imposing riffs and thumping rhythms. The equally compelling tones of vocalist Thom Meredith soon roar from within the magnetic nagging tide of sound, Saint Apache stirring up the senses and spirit with persistent and boisterous enterprise. Familiar and fresh hues collude within the fire, unpredictability brewing and grabbing its moment as the track slips into a restrained passage with post punk and invention nurtured twists dancing on the ears. The guitar of Leo casts a tapestry of endeavour and imagination, every second a web of hooks, grooves, and spikiness matched by vocals and the rhythmic predation of drummer Adam Oarton and bassist Luis T.
It is a tremendous start to the release, stoner and heavy rock mixing with punkier intentions and continuing to unite their elements within the following exploits of The Story Doesn’t End Here. The wiry tendrils and fuzzy breath of the guitar brings in a psych/stoner-esque smog, grooves shooting from its midst with again a recognisable yet invigorating character. The growling tone of the bass is a physical addiction all on its own, with an irritable presence just as enticing within Meredith’s vocals and snarling lyrical expression. Rage Against The Machine essences within the first song are a thick spice within the second, giving its swagger thicker liquor to intoxicate the listener with.
Halfway Dead similarly weaves a trap of closely acquainted grooves and hooks for the appetite but again with a tenacity and enterprise which has ears and bodies greedy and bouncing. As with all tracks, it is hard to say that originality is an overpowering essence yet in the bold and craft sharing hands of the band, everything comes in an unworn design and with unique nature. Previously mentioned inspirations again can be grabbed from the track but equally there is something of bands like Damn Vandals and Turbonegro to the raw and virulent attack.
The EP’s title track brings things to a close offering a drama coated, intensity loaded temptation from its first breath which may lose some of its threat as things ‘calm’ a touch and vocals become entangled in spicily wiry grooves but never loses its intrusive touch or creative appetite within its thrilling attitude loaded incitement. It is a gripping end to a continually galvanic proposition hard to find anything other than real pleasure with.
The Wolf Machine EP is audacious and impulsive in character and sound if admittedly not so much in major originality but even there the seeds are openly being sown and bred within its four songs for blossoming further down the line. Saint Apache is ready to make their mark and if Wolf Machine is a hint to the things to come, bring it on.
Wolf Machine is out now across most stores.
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Pete RingMaster 25/07/2017
Copyright RingMaster: MyFreeCopyright
Its strong presence and persuasion is followed by that of Bury Your Friends, the song from a melancholically melodic start erupting into a metal coaxed rock ‘n’ roll tempest. Its body and tone is irritable, its swing ultimately infectious but constantly feeling like it could turn on the listener at any time even in its calmer and fierce pop scented passages. It is a striking track, a bigger outburst of the band’s new creative prowess matched in power and thrills by recent single Fracture. Riffs and grooves lead with antagonism, rhythms barely taking an ounce of venom from their punch as melodies and vocal harmonies subsequently escape from a brooding storm never far away. Richly enjoyable when first unveiled last August, it seems to have just grown in temptation and stature; blazing superbly from within Hope with greater attributes being found with every outing.
Sinking From Within swiftly uncages a rhythmic proposal which demands attention next, the growling air of Rhys Kirby’s bass in league with the eagerly swung beats of Joe Lanigan. It is a formidable enticing as inviting as it is predacious and the lead into another potent blend of rapacious intensity and melody honed angst. There is a touch of Billy Talent to the song at times mixing in with further unexpected moments of Hunter Kill Hunter invention as once more expectations are evaded by the excellent track.
Youth instantly engages with hardy beats and a senses grasping web of grooves. Cast by Karum Cooper, they wind around ears with melodic suggestiveness growing a funky nature as the growling bassline of Lewis Pilcher and the swinging rhythms of drummer Jim Richardson collude with the vocals of Katie McConnell. She has an expressiveness and emotion to her voice, backed in strength by Cooper, which pulls you into the song where the band shows their imaginative enterprise. The track does not exactly leap out from the speakers but rather creeps up on the appetite for a lingering tempting that incites a need for closer involvement.