The story goes that “Hell was full so they came back!” A return sparking the beginnings of Hungarian punks The Hellfreaks so all hail the greed of the horned one to gather as many souls as he can to cram his domain. Seriously though whatever the spark which brought the Budapest band to life it has bred some of the best times for our ears here at The RR and none as glorious as now with the band’s new album, God On The Run.
Formed in 2009 by vocalist Zsuzsa Radnóti better known as Shakey Sue, The Hellfreaks soon had the local scene jumping before infesting ears and borders further afield with their psychobilly/rockabilly/punk nurtured sound. As the following year broke, the band unleashed debut album Hell Sweet Hell to swift success and acclaim around the world. Its successor, Circus Of Shame, met equal reaction and plaudits as the band found themselves touring across Europe and making a mark in the US.
As 2014 began to close up, the band split though it was a brief departure as Sue pulled the band from its temporary grave with a new line-up and a fresh evolution of their sound which saw punk and rock ‘n’ roll instincts fuelling a whole new incitement and individuality. The potency of this change was in evidence within third album Astoria, released 2016 and now in full roar and glory within God On The Run, an unbridled stomp which unapologetically puts all before in the shade.
From the moment opener Men In Grey launches its roar from the sonic lure it initially dangles, the album proved addiction is not always a bad thing. The voracious beats of Béla Budai drive the surge of temptation, nagging and biting simultaneously with a primal hunger as the guitar of Jozzy adds its rapacious riffs and claws alongside the dark grumble of Gabi Domján’s bass. As it hits its equally eager stride, Sue’s rousing tones ignite an already blazing fire, the song thick in attitude and virulence which only escalates as the chorus unleashes its roar. The track is superb, punk rock predator with garage punk and hard rock rebelliousness soaked in punk metal aggression.
From thereon in every track proceeds to infest ears with their own unique character as swiftly proven by Red Sky. Again, as rhythms pounce and plunder accompanying riffs and hooks spring their web of temptation around the compelling tones of Sue, her snarl and fire an echo of those esurient sounds and her lyrical bite. With essences which remind of bands such as In Evil Hour and The Distillers in varying degrees, the track is a rousing storm in the ears while Hello Sea! straight after matches its attitude in a calmer but no less volatile stroll. With open tempestuousness which shapes its voice and holler around a melodic enticement which alone is a magnet for ears, the song hit the spot already well attended by the album.
Doldrum Dynasty intensifies the album’s impact and the greed for it, the heavy tenacious nagging of bass and guitar grooves alone manna for the imagination though next up Witches Heal still manages to eclipse the album’s best moment yet. With Budai’s swinging beats prowled by the riveting tones of Sue, the track stalks the senses whilst gripping the body with an infectiousness which borders on the viral, again hooks a devious weapon within the slavery.
As Royal Blue and new single Adrenalized offer their own inimitable endeavours, God On The Run only took a firmer grip. Such the majesty of the previous pair, neither track quite rivalled their stature yet with their respective punk audacity and infection loaded clamour, both proved pure contagion before As Above stormed ears with its punk metal defiance and rapacity for a matching persuasion. Again within the creative hostility melodic enterprise and harmonic temptation provided, without defusing the song’s truculent heart, an evolving adventure the imagination keenly feasted on.
The album closes up with firstly the outstanding Clear Water, a track winding its wiry tempting around ears from its first breath whilst gnawing at the senses before offering rich melodic seduction and lastly the electro coated Tabby, a track declaring there is plenty more in The Hellfreaks imagination and sound for they and us to tap in to as it hauntingly consumed the passions.
God On the Run is certainly not the first time The Hellfreaks have had us lauding and recommending their devilry but there is a new vigour and urgency in our suggestion that you go check their voracious new album.
God On The Run is out February 7th; available @ https://thehellfreaks.com/shop
https://www.thehellfreaks.com/ https://www.facebook.com/thehellfreaks/
Pete RingMaster 26/01/2020
Copyright RingMasterReview: MyFreeCopyright
With so many tracks within its bulging walls let’s get the fillers out of the way first…..OK that’s done! Truly every moment with Double Bastard is an essential incitement of rock ‘n’ roll with Teenage Teenagers the first to exploit an admittedly already in waiting appetite. From its first breath the song is an infectiously eager clamour, vocals leading the manipulation as Fazzo’s beats and Joey Strange’s throaty bassline direct its catchy stroll. The guitars of Tom ‘G Force’ Batterbee and Stew Page weave their own melodic temptation into the familiar SV and the Eruptions mix but one wholly individual proposition.
The great start is only escalated by the song named after the band. It too prowls the listener, checking them out before springing to its bold feet and instantly indulging in a rapacious saunter. With an essence which reminds of UK outfit Trioxin Cherry at times, the track is equipped with inescapable hooks and teasing riffs matched in temptation by vocals and the great throbbing bait escaping Alex Steffens’ bass. It all comes with a feral lining which is even more pronounced in next up Midwest Zombies, yet a raw wildness which only seems to enhance the instinctive virulence and catchiness of tracks let alone the individual prowess of the quartet.
Old school rockabilly seeds the following dark seduction of She’s Strange, its dark lures and senses winding coaxing a devilish virus of sound and temptation while the skilfully voracious Rattle Rock Stomp simply unleashes restrained but barely contained bedlam in its rivetingly compelling swing. Dan’s vocals alone just infest the senses and pleasure fuelled appetite but add the ever resourceful and devious scything beats of Naomi and the almost corrosive clamour of guitar and it is manna for certainly these ears.
The following Burn It Clean uncages its own dispute of rousing rock ‘n’ roll to similarly irresistible effect, Fi a magnetic protagonist challenging and roaring within the track’s fractious stomp while the album’s title track in turn unleashes its own caustic holler to fire up body and attitude. Both tracks are pure manipulation, primal and designed, matching the glory of their predecessors and United Decay which erupts from its industrial bed with Kelly’s juicy groove and Diesel’s hungry riffs. With more restraint to its testy character but devious in its creative corruptions, the track is one imposingly tempting anthem though to be honest one such taunt among thirteen such compelling snares.
Earlier this year, the band released the W.G.A.F. EP, a very well-received taster of the band’s punk fuelled, pop infested, ebullient rock ‘n’ roll now making one virulent holler from within A Deafening Silence. With defiance and attitude wrapped in hook ridden contagion, the Michael Wagener produced album immediately sets about getting under the skin with opener You Say. Flames of guitar instantly consume ears, a catchy rhythmic trespass in close pursuit before Sellers’ vocals join the swift coaxing. Within seconds an underlying hook teases but captivation is truly set with the song’s irresistibly rousing chorus. Like a hybrid of The Donnas, Spinnerette, and Sleater-Kinney but urgently enforcing its own individual character, the song as the band’s sound and enterprise sets the tone, manipulation, and adventure of things to come.