20th December 2017
There’s something uniquely enjoyable about watching a band develop from their most formative stages to become the act they aspired to be, and showed the potential to be. I first encountered Seep Away on a bill of noisy shit around Christmas in 2015, soon after they came into existence.
They describe their sound as ‘raw and punkish,’ and not that ‘there’s not too much melody, a lot of anger and a tonne of noise’. Their performance was ragged, and it was clear they were very much in development, both musically and as an act. But the sheer passion and raw energy they poured into that set was something else. They would stop and gasp for breath between songs, having played each one like it was the last song they would ever play.
Over the course of the next two years, they didn’t just get better, they got awesome. Tighter, louder, harder, harsher. Jay Sillence swiftly evolved into one of the most compelling front men you could hope to see: fearlessly in your face, anarchic and unpredictable, and it was clear watching them play that they were loving every minute.
It’s therefore sad that The Blackened Carnival of Societal Ineptitude is a parting gesture. But it’s also a cause for elation that they’re signing off with a collection of songs that encapsulate the sound – not to mention the brutal, ferocious, energy of those later live shows. Circumstance and geography may be behind the band’s demise, but better that than acrimony or creative collapse, and they’re departing on a high. The Blackened Carnival of Societal Ineptitude contains eight tracks and clocks in at around twenty-two minutes and condenses all elements of the essence of Seep Away into that.
‘Rot’ is all about the churning, pulverizing riffage, the ribcage-rattling bass and snarling vocal attack. For dingy, murky, metal-done-dirty, it’s up here with Fudge Tunnel at their best. Single cut ‘Matchstick Man’ throbs and rages. Their rendition of Ol’ Dirty Bastard’s Shimmy Shimmy Ya’ has long been alive favourite, and the studio version captures the spirit of their interpretation perfectly. You’ll be leaping round the house hollering ‘baby I like it rrrrrrrrrrroooooaaaaawwwwww!’ for a week after hearing it just once.
The album’s second cover, a take on Minnie Riperton’s ‘Loving You’ sees Sillence come on full Marilyn Manson, and they ratchet up the sneering sleaze to eleven. It’s a showy, metallic-grinding wheeze, brimming with sadistic malice. It’s also a sackful of deliciously manic and suitably irreverent fun.
‘Joie de Vivre’ returns to the snarling, churning, grunt and chug of the heavy grindy / metal / hardcore amalgam that defines the band’s sound, and it’s hard-edged and gnarly in the best possible way. It packs in all of the band’s intensity and full-throttle attack into under four minutes (and is the longest track here).
Closing the album (EP. whatever) in quirky and irreverent style, ‘The Awkward Handjob’ is a piece of silly fairground japery about, er, wanking, of course. It’s fitting that of any band, Seep Away should end their all-too-brief career with a toss-off track about tossing off.
Instead of bemoaning unfulfilled potential or mourning their departure, we should focus on the positive: Seep Away have delivered a blinder of a set here.