Loom – Self Titled

Photo by Kurt Fairbairn

With quite simply raw rock ‘n’ roll nurturing its heart, the debut album from UK band Loom takes ears through every shade of punk rock you can imagine within its ten track confines. It is an adventure which has the imagination fired up, ears burning with ardour, and aggressive tendencies bubbling to the surface in a striking and rousing incitement of a self-titled proposal. Each song as suggested reveals a new aspect in its furious landscape yet brews a united character distinct to a band and release which just commands attention.

Leamington Spa hailing, the trio of Tarik Badwan, Matt Marsh, and Joshua Fitzgerald took little time in attracting ears and praise with their early releases including a pair of well-received EPs within their first year. The second of 2013 featured six covers of songs from the strongest inspirations for the band in its early days, The Jesus Lizard, Bad Brains, Pixies, GG Allin, Misfits, and Warsaw. Alongside the other encounters, it sparked support from the likes of Zane Lowe and Daniel P Carter at BBC Radio 1as well as laying the first steps in a springboard for Loom live to support The Rolling Stones at Hyde Park and tour the UK and Germany with artists such as Frank Carter & The Rattlesnakes, Queen Kwong, and Turbowolf.

The band’s first album is not slow in suggesting those influences in its multi-flavoured roar, as mentioned each song distinct from the next but there is a vein of unique Loom-ness running through all which we would suggest goes beyond the cohesion of aggression suggested by its press release. It opens up with Lice, a sonic itch you just cannot scratch enough to escape from. Its initial glaze to an instantly robust sound has a gothic/indie rock spicing, coming over like a blend of Leitmotiv and The Victorian English Gentlemens Club before its grouchy rock ‘n’ roll instincts burst free. It is a glorious nagging of the senses and imagination taking magnetic twists along its contagious enmity of sound and attitude.

The great start continues as firstly Hate imposingly shimmers with electronic radiance upon grunge bred antipathy to be followed by the rousing exploits of Get A Taste. There is a whiff of Pere Ubu for these ears to the first song but a thicker Nirvana like causticity to its nature and again niggling potency. Embracing garage punk confrontation too, the track stirs ears and appetite with ease, a triumph matched by its successor with its old school punk meets seventies garage rock growl as demandingly catchy as it is openly crotchety.

Grunge colludes with post punk for the feistily prowling Leopard, guitars winding spicy tendrils lined with delicious discord around ears as rhythms reveal a rapacious nature to their drive before Salt entangles the imagination in a fusion of Joy Division post punk and the irritable punk rock of The Stooges with just a tang of psych rock bewitchment. It is an enthralling mix opening new aspects with each passing flick of a chord and sonic detour yet throughout a fluid tart snarl never deviating from its quarrel.

Seasick bawls as its stalks ears with predacious intent straight after; indie rock merging with raw hardcore ill-temper in a track which steals the passions within seconds. Vocals are as unpredictable and instinctively volatile as the sonic flames cast by the guitar and indeed the rhythmic jabbing around them. With the bass a brooding threat within the tempestuous joy crowding and seducing ears, the track makes a big play for best track glory but is quickly challenged by the muggy grunge venting of Bleed On Me and eclipsed by the glorious dark deeds of the band’s latest single, Nailbender. The latter is a compelling caliginous seduction of gothic and punk metal; like Type O Negative fused with Descendents and 1919 yet still emerging as something unique and gripping to Loom.

The punk grouse of Barbed Wire grabs something from all decades of punk since the sixties whilst in finishing up the album Slowly Freezing Heart crawls across the senses in a kaleidoscope of sonic toxicity and shadow loaded rhythms united with vocal psychosis. Both tracks are treats greed gets the better of composure over while bringing one superb album to a memorable and rousing end. Listening to Loom you get the feeling that the band creates on instinct, not searching for a sound but letting it find them and infusing their music with its own unique character. The album reminds of numerous artists across its riveting body but never comes over as anything other than the offspring of Loom, the first of many more belligerently sculpted and physically visceral gems we hope and suspect.

The Loom album is released May 19th via Silent Cult across most stores.

https://www.facebook.com/Loomband/    https://twitter.com/loomband

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

The Harry MacIntosh Project – Such is the Vulture’s Love

Photo courtesy of (c)liarbillyt132014

Photo courtesy of (c)liarbillyt132014

Returning with their first collection of new songs in around seven years, UK experimental punks The Harry MacIntosh Project unleash the Such is the Vulture’s Love EP to remind the British rock scene what an exciting proposition they are. Berkshire based, the quintet contrary to what the band name might suggest, create a bracing brew of punk and noise rock wrapped in alternative rock tenacity. There is still more to their sound as proven by the new release, but imagine a brew of Richard Hell, At the Drive In, The Jesus Lizard, and Blood Brothers, and maybe add a thick pinch of Pere Ubu and you get a clearer idea.

As said it has been quite a while since the self-release of their Macrophage EP in 2006, though there has been a live album to keep us happy too, but with their recent signing to London-based Zube Records the band is back to incite ears and psyche in fine style once again. The time between releases has also seen a line-up change and a more defined and mature handle on their ever warped ability to stir things up with instinctive, noise fuelled invention. It is all in evidence upon Such is the Vulture’s Love and it is fair to say that it is good to have fresh and raw sounds from the band in the British rock ‘n’ roll landscape again.

10291714_10153149234802438_5040363608279764080_n     It all starts with Error Terror, a warped sonic disturbance of jazzy intent brewing up to the point where the band step forward with sharp hooks, wiry grooves and bustling rhythms. It is an immediate flavoursome tonic of sound, becoming more acidic and tangy with the vocals of Trip Hazzard, his appearance seeming to spark a more citric touch to the guitar enterprise of David Anderson and Thomas Cox. The song continues to prowls the senses as the meaty beats of Paul Hopgood collude with the throaty lines cast by Thom Draven’s bass, but throughout and just as potent is an infectious almost virulent swing to the track. It is a mighty and compelling start to the release and quickly matched by its successor.

…and this Cat has a similar swagger to its body and presence too, guitars spilling catchy grooves whilst rhythms are more boisterous than aggressive. It is a gripping entrance soon leading to greater reactions as the track slips into a melodic calm with evocative resonance and invasive, slightly Parisian charm. The track is outstanding, too short maybe causing a moan when it stops such the enjoyment given, but a tapestry of hues suggested by many of the bands previously mentioned. They are just small hints of colour though to a sound which comparing it to anyone borders on selling it short, certainly from within the second song upon Such is the Vulture’s Love.

(I Spent the Night In A) Washing is a voracious rock ‘n’ roll stomp doing its best to steal top honours on the EP. Rugged on its punk side and bewitching in its sonic endeavour, the track bullies and entices ears simultaneously, rhythms the most volatile protagonist, though the gripping bass part of their invention with its catchiness tempers the ferocity of the drums. With Hazzard spilling more and more expression, and at times animosity with every song, the encounter is another to leave like-minded bands wishing it was them and the listener feeling like they are being serenaded by a pissed off hornet.

The release closes with Mouldy Water, a dark intimidation of a song with a muddy atmosphere and a seemingly antagonistic nature caressing the senses with caustic melodies bullied by tempestuous rhythms. As in the other songs we are only giving glimpses to the emotional and atmospheric turbulence and raw beauty pervading the encounter, every moment in a song a new wash of invention and wonderful agitation hard to replicate in words.

Hopefully it will not be another vast stretch of time before The Harry MacIntosh Project unleashes some more of their impressive new direction of sound. Such is the Vulture’s Love is an excellent and enthralling treat for the now but it also leaves pleasure in the arm of want, a need for more, and even its superb body can solely satisfy that for too long.

Such is the Vulture’s Love is released April 25th via Zube Records on CD, seven-inch coloured vinyl, and as a digital download.

http://www.facebook.com/theharrymacintoshproject

RingMaster 23/04/2015

Copyright RingMaster: MyFreeCopyright

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