Hawk Eyes – Everything is Fine

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Debut album Ideal set the seeds for a lustful appetite which the following That’s What This Is not only cemented but took to new feverish heights; so anticipation for us and their fans for new album Everything is Fine was not exactly calm. Every want and expectation demanded of UK rockers Hawk Eyes it has to be said is swiftly met by the bands second full-length but it is only half of the story. On their breath-taking new encounter, the band explores new instinctively primal and raw depths within a greater and furiously fevered invention. Everything is Fine is rock ‘n’ roll at its most rugged and voracious, but also offered in its greatest imaginatively virulent form.

The heart and persuasion of the Leeds band began in the guise of Chickenhawk, a proposition similarly making a potent impression through their live presence and the album Modern Bodies of 2010. It was from the name change to Hawk Eyes though, that the unit tapped into a broader and richer vein of attention and personal creative exploration with a similarly expanding and creatively rebellious sound. The first album under the new guise, Ideals set a bigger roar within the British rock scene which That’s What This Is pushed even further but now having had Everything is Fine raging through ears into the passions, it is easy to say they were just hearty appetisers for a much bigger inventive meal.

The writing of the PledgeMusic funded Everything Is Fine began in 2012, songs emerging within and round the band’s constant hunger to tour and play shows, which included supported the likes of System of A Down at arena shows and playing the biggest music festivals across Europe, as well as SXSW over in the States. Even writers block for vocalist and guitarist Paul Astick could not derail the oncoming creative storm driving the new album, the man solving his problem by absconding to a hole at Spurn Point in Yorkshire on a really bleak evening with the outcome an oppressively dark and wonderfully ravenous title track.

The album though starts off with the inescapable lure of The Trap, a song making a gentle and slightly melancholic entrance with an air and dark stringed caress to match. Its first minute is a 4ca338c20ba067f7ab9f5dd77375627a0tantalising coaxing for ears and imagination before parting its veils for the pungent and anthemic rhythmic lure of drummer John Mackenzie aligned to the just as compelling throaty bassline offered by Ryan Clark. The outstanding vocals of the band are soon crooning and lifting the energy of the song, never letting it off its leash but prowling the senses and emotions with riveting expression and expertise. There is a breath of Dioramic and Pigeon Lake to the track, a harmonic and shadow wrapped breeze which only lifts the passions further as the opener crowds excitingly around the listener leading them towards a superb hook loaded vocal and almost combative climax.

The exceptional start is backed feistily by the sonic agitation of The Ambassador, a song grasping a dirtier hardcore laced vocal and rhythmic confrontation to its melodically clothed and tenaciously muscular breast. Hooks tease and riffs abrase from Robert Stephens and Astick, as vocals eye ball the listener with their boisterous tones and narrative. It is a blend ensuring body and emotions continue to be tightly clasped ready for the exceptional call of Die Trying. Soon offering punk vivacity to its heavier metal seeded tempest, the track equally finds an alternative rock contagion which offers shades of bands like Baddies in its unique creative brawl. It is a thumping encounter bringing further spices to its magnetic turbulence, a grungy essence as intriguing and gripping as the sinew driven aspects of the masterful persuasion.

There is strong variety to the flavours of the song and even greater diversity to the album, as straight away shown by the raucous heavy rock stomp of Permission with its progressively honed melodies and the catchy warm stroll of The Ballad Of Michael McGlue. The first roars like a mix of Queens Of The Stone Age and Therapy? whilst the second looks at another more indie/alternative rock canvas coloured with funky beats and melodically inflamed evocative hues. Both captivate with ease, though the sudden stop of the latter and the immediate charge of the following More Than A Million soon has album and listener hitting greater exhaustive energies. The wonderfully toxic snarl of the bass and accompanying acidic grooves chain the passions instantly, whilst the continually impressive vocals of Astick along with the unpredictable nature of song and individual creativity within the band, enthrals as they lure body and voice into the swing and anthem of the track.

Terribly Quelled shows its aggressive proclivity next, snarling with resourceful and inviting belligerence attached to punk fuelled anthemic suasion before Night Music absorbs a Faith No More like climate as it provides another fascinating and increasingly addictive inducement complete with roaming rhythms, mesmeric vocals, and sonic blazes. Both songs leave emotions high though are soon in the shadow of the outstanding I Never Lose and the album’s scintillating title track. The first of the pair twists and flirts with an agitated new wave bloomed enterprise reminding of the likes of We Are The Physics. This is aligned to an unbridled stalking of heavy rock ‘n’ roll rabidity for striking success, whilst the latter is a tempestuous consumption of ears with a post punk and discord lit bluster of predatory imagination and sonic causticity. It is also, from within its corrosive smother, one seriously infectious proposal brilliantly closing with a thrilling parade of enterprise which hints of very early Adam and The Ants.

Everything Is Fine is brought to an engrossing end by firstly, the controlled yet ferocious avalanche of rhythmic intimidation and sonic examination that is Enemies, and lastly the seven minute plus TFF. The final song does not quite match up to all that went before it, yet leaves the listener engulfed in a tapestry of melodic and dramatically multi-flavoured adventure, which shows just how exceptional other songs are to outshine it.

In many ways Hawk Eyes had a head start thanks to the already hungry appetite for their sounds already bred by the band previously but Everything Is Fine surpasses all hopes and greedy demands with quick and masterful majesty. Start those best of year lists right now and put Hawk Eyes right at the top.

Everything Is Fine is available from February 9th through Red Vole @ https://itunes.apple.com/gb/album/everything-is-fine/id962728478

Check out Hawk Eyes on tour@

Thurs Feb 12, Maguire’s Pizza Bar, Liverpool

Fri Feb 13, Barfly, London

Sat Feb 14, The Joiners, Southampton

Mon Feb 16, Louisiana, Bristol

Tues Feb 17, Bodega, Nottingham

Weds Feb 18, Sound Control, Manchester

Thurs Feb 19, The Cluny, Newcastle

Fri Feb 20, Nice N Sleasy, Glasgow

Sat Feb 21, Brudenell Social Club, Leeds

http://www.hawkeyesmusic.com

RingMaster 09/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Hawk Eyes – That’s What This Is

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Following up their last year’s acclaimed album Ideas, UK disorientators Hawk Eyes smack the listener right between the eyes with new EP That’s What This Is. Consisting of four tracks which in many ways take off from where their predecessors left off, the release is a carnivorous tempest of voracious invention and rapacious imagination which sculpts it all into an irresistible blaze of hunger driven energy and merciless confrontation. It is a mighty EP that lends forcibly the notion that the Leeds quartet is one of the UK’s dramatically promising and securely entrenched rock bands.

Originally called Chickenhawk until a couple of years ago, the band took little time to make an impression and inspire thoughts of being a potent force in waiting for the UK scene. Debut album Modern Bodies of 2010 churned up good attention and responses as did their live performances whilst Ideas with a new band name and shift in sound drew the strongest suggestion of the might and promise of Hawk Eyes. Written at the tail end of last year, as were many of the tracks to be found on their forthcoming new album, the PledgeMusic funded That’s What This Is provides a bruising storm of greedy riffs, bone snapping rhythms, and sinew clad rabidity which leaves the lungs low on breath and body caving in from exhaustion.

The opening title track wakes up the senses immediately with crisply swung beats and taunting rubs of guitar before settling into an 1098024_516515751751798_1760845154_nenergetic ride of driving bass riff and punchy rhythms coated in sonic intrigue and punk fuelled vocals. It is a striking encounter which only gets stronger and more potent as it unleashes a blend of punk ‘n’ roll and melodic metal which simply cages the passions into a maelstrom of pleasure and urgent participation. As it rampages the track reminds of the likes of One Minute Silence, Therapy?, and the other similarly musically clad emerging band leading UK heavy sounds, Fuckshovel. It is an outstanding and ridiculously anthemic infection setting the release off at the strongest pinnacle and though as mentioned it feels like a continuation of the previous album it openly brings a maturity and imagination which is a few leaps on.

The tall order to back up such an immense start is given to the kinder touch of Never Never, Just Not Now, a song that leads with less barbed catchy hooks and softer persuading melodies compared to the more savage attack of the previous song, though that is not to say it lacks a bite and the provocation which demands full emotional attention and limbs to cast their energised shadows in unison. With muscular rhythms framing sonic flames of craft and enthrallment and a melodic wash which takes in sound and vocals whilst still providing an acidic taste which intimidates and caresses, the song majestically rises to the challenge set without quite gripping the lip of the level. It does show the wealth and depth of sound and imagination within Hawk Eyes, an invention which does not over play or push anything beyond its use to songs but brings everything into a purposeful intent to provide the sturdiest captivating rock ‘n’ roll, in this case in a body that gives the likes of the Foo Fighters a run for their money.

Cheap has an alternative rock offering to again bring diversity to the release, though yet again the rugged passions of the band make their stirring mark with bestial riffs and cantankerous grooves more than eager to chew on the senses for the smouldering melodies to subsequently soothe. With a raw underbelly and a brawling attitude at its core the song is another jaw smacking treat which with its companions only make the anticipation for the impending album impatient, that lack of want to wait further cemented by closing song More Than A Million. Snarling up the senses in another tirade of ravenous predatory riffs and wickedly entwining grooves alongside a stalking of drums and bass animosity from its premier breath, the track entraps the listener in a web of ravenous sonic mayhem fortified by a rhythmic lashing and scarring guitar brutality, their reins held in the hold of the excellent melodic and passion bred vocals.

It is a thunderous conclusion to an invigorating release which keeps the band on course to head, alongside a few others admittedly, the world invasion of British hard balling rock. Hawk Eyes have their vision firmly set on your passions and That’s What This Is certainly gets the deed done.

www.hawkeyesmusic.com

9/10

RingMaster 19/08/2013

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