In Evil Hour – Built On Our Backs

Photo Helen Templeton Photography.

Photo Helen Templeton Photography.

How do you back up debut album which a great many, us included, called a modern punk classic. Well with another equally blistering triumph of course. Easy on paper and in thought but not so simple in deed but that is exactly what UK punksters In Evil Hour have done with new EP Built On Our Backs. The follow-up to the exhilarating roar that is The World Bleeds Out, their new six-track new fury is a furnace of attitude and defiance loaded with lethal hooks and virulent contagion, all honed to incite and inflame ears and thoughts. To put it simply, it is hardcore punk rock at its ferocious best.

Darlington bred, In Evil Hour formed in the summer of 2011 drawing on inspirations from bands such as AFI, Black Flag, Sick of it All, and the Nerve Agents. Very early on the quartet was becoming a potent presence and draw on the live scene, shows with the likes of Leftover Crack, The Misfits, H20, and The Creepshow earning a quick reputation as one exciting onslaught which was further confirmed by their first EP, the Antipop Records released Tell Your God To Ready For Blood of that first year for the band. The World Bleeds Out really awoke attention and fevered appetites with its unleashing in 2013 on STP Records, its release at that year’s Rebellion one of the highlights of the weekend for band and fans.

With a tour alongside the $wingin’ Utters and their own jaunt into Europe and around the UK this August under their 2015 belts, In Evil Hour have provided another rousing and irresistible storm with Built On Our Backs. As you might suspect it is a collection of socially and politically challenging furies immersed in songs which spit fire and boil infection ripe seduction. The EP opens with Progress, which spins immediate bait of alluring guitar before broadening into a full enticement of spicy riffs, sharp hooks, and pungent rhythms. The persuasion is complete with the recognisable snarl of Alice’s voice, attitude and defiance dripping from every syllable as the track whips up an even keener and catchy aggressive stomp. Fair to say the song does not offer something to majorly blow ears and thoughts away, whilst undeniably heavily pleasing body and appetite, but rather provides the perfect base and launch pad for greater adventure to erupt from, which it certainly does with Blood and Majesty.

cover_RingMaster Review     To be honest the difference to the individual characters of the two tracks is nothing big or particularly definable yet the second song just pushes the right buttons to a more lusty reaction. Its first rumble of riffs and scythe of beats carries a spark suggesting a mighty tempest to come, an explosion of voice, riffs, and barbarous rhythmic enterprise confirming it swiftly after. Melodies and vocals have a toxic edge to them whilst Gareth’s guitar and Gib’s bass just grumble and growl with their particular torrents of caustic endeavour and nature. Throw in scarring swings from drummer Mike and you have one glorious addiction at work.

There is no way anyone could resist getting fully involved with the song, physically and vocally, and the same applies to Ascension. Its first touch is a ‘mellower’ vocal alluring from Alice against a raw riff, though there is that ever present snarl just adding its edge to her tones and being fully exposed across the track as it brews up an intensive and energetic blaze which once fully aflame, provides another surge of irresistibility and senses igniting provocation. That early melodic calmness is never driven away though, seizing the moment in a mouth-watering detour which is just not long enough before the creative raging is back igniting the air.

The bass of Gib leaves a tasty morsel of bait in the third song and again lays down an early bestial lure within the following EP’s title track, an anthem with vocal hooks and temptations galore and antagonistic ingenuity a plenty. It defies the listener not to physically leap on board as it brawls lyrically and musically, a challenge almost as potently thrown out by Bright Lights. At one minute and a large nudge, the track in some ways does not have long enough to establish its own uniquely corruptive web of tempting but still offers a storming slice of creative aggravation and enjoyment to get teeth fully into before Predators brings Built On Our Backs to a might close.

The track is prime In Evil Hour, every existing and newly discovered quality and skill in songwriting and sound within the band uncaged in its melody ripe hardcore and angst driven combat. A battle cry for the twenty first century and daily living, it is superb and the perfect end to an EP emulating its success in a themed journey across the elevation of hope, hard work, and rewards but resulting in exploitation and worse. As ever In Evil Hour play hard, hit hard, and have set free another standard setting fury for modern punk.

Built On Our Backs is available now via most online stores and digitally as well as on CD at the band’s Bandcamp and Bigcartel store respectively.

Pete RingMaster 03/09/2015

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In Evil Hour – The World Bleeds Out

pic by Helen Templeton Photography

pic by Helen Templeton Photography

A snarling insatiably commanding beast of a release, The World Bleeds Out the debut album from UK punks In Evil Hour is a sensational blistering of senses and thoughts from a band who know how to craft virulently contagious and potently provocative songs. A blaze of essential fresh punk rock with a lyrical bite which takes no prisoners within incisive swipes upon politics, society, and the apathy and ignorance that pervades modern culture, the ten track release leaves a fully exposed and hunger driven passion in its wake, whilst In Evil Hour steps forward as another irresistible voice declaring that UK punk rock is again leading the world.

Formed in 2003, the quartet from Darlington takes seeds out of inspirations from the likes of AFI, Amen, Black Flag, The Stooges, Bad Brains, NOFX, Bad Religion, Sick of it All, and Rise Against to name a few, into their own flavoursome hardcore punk. It is a sound which is not unafraid to load itself with infection soaked hooks and riffs but as an additive to tempt rather than undermine the sinew lined directly evocative heavy punk attack they conjure. Released through STP Records, The World Bleeds Out is a savage yet anthemic confrontation which allows hope and temptation to be as rife and alluring as the aggressive and spiteful creative toxicity which stirs up and incites the imagination.

Opener Divide And Conquer stands eye to eye with the listener as the rasping growl of Alice confronts the ears skirted by crisp and a0645899867_2antagonistic rhythms and swiping raw riffs. The track is soon charging for the jugular of the senses with rabid beats from Mike whipping the song on whilst bassist Mark and guitarist Gareth create a vitriolic and persuasive mesh of caustic might. With anthemic vocals in league with an equally demanding instigator in the chorus, the song is an outstanding and powerful entrance into the album.

     Far From Home takes up the fury next with a splattering of rebellious beats sparking the rest of the song into an initial rage against the senses. It is a great start but one which is left behind once the song settles into an incisive stomp of rumbling rhythms ridden by the continuing to impress, with greater strength as each song steps forward, vocals of Alice. There is a Wendy O Williams essence to her delivery which only enhances the lyrical expression and song attack overall, something which the music seems to understand and find inspiration from, this track gaining ever increasing intensity and rapaciousness with every syllable expelled with brawling strength.

Both As Seas Rise and Where You’re Left continue the immense presence of the album if not quite to the earlier heights set, the first creating a sonic scrap with the ear in which there is only one winner, especially with the deliciously catchy swing and barbed melodic enticement through the guitar skills and vocal harmonies and calls. Its successor is a scorching flame of guitar scalding and rhythmic bashing again steered impressively and skilfully by the vocals singular and as a riotous union.

The lethal swipe of animosity that is Little Death is a fifty five second storm of magnetic viciousness, a hardcore blitz which thrills from its first uncompromising breath through to its last. It moves over for the mutually outstanding Help Me Out, an acidic spiral of heavy rock guitar teasing and taunting whilst the rest of the band adds their particular predacious craft and incendiary invention. A bruising rock n’ roll rampage which leaves the passions aflame with greedy appetite it provides one more stunning moment amongst a great many on the release.

The instantly compelling bass lure to The Terminal brings in another exceedingly agreeable altercation, the band arguably more restrained in its proposition though no less direct and imposing lyrically and in presentation. The bass continues to steal the show on the track, its finest and most potent moment on the album where at times it feels like it is given a back seat place in the production, whilst as now expected Alice draws attention with her striking presence which to be fair often puts most other aspects in the shade.

The excellent title track grazes up the senses and passions with its own individual exciting and imaginative spat whilst the brilliant I Lost Years, where bass and guitar find another plateau to tease a new rapture out with their impossibly addictive rough charms. A Dead Kennedys like hook steers the passions whilst the surrounding body of the song is a mix of Angelic Upstarts/UK Subs and Penetration/AFI. It is a terrific creative and raucous adventure cementing the depth and quality of band and album.

With Murder Murder closing up The World Bleeds Out with one final tempest of contagion drenched excellence, a blend of Bad Religion and The Duel coming to mind as it steals another wave of ardour from the emotions, In Evil Hour emerge as one of the most impressive emerging forces in punk rock, and not just in the UK. A classic album from an extremely impressive band, not much left to say.

http://inevilhour.bandcamp.com/

https://www.facebook.com/InEvilHour

10/10

RingMaster 17/09/2013

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