Posts Tagged ‘lyrics’

Watch: ‘Stitched Up’ by Barbarian Hermit

Posted: 10 June 2024 in Recommended Streams and Videos, Singles and EPs
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2nd August 2024 will see the return of Barbarian Hermit, Manchester’s leading purveyors of groove laden, stoner/doom metal.

Released on APF Records, Mean Sugar may just be the heaviest ever tribute to Northern life. Frontman Simon Scarlett comments,

“The album is about what we know, and that is the bitter-sweetness of growing up in a northern town. It’s a crude representation of what it is to be us these past few years: Lads catapulted against our will into manhood, at a time when everything is changing, and yet here we stay under the comforting and watchful shadow of the Pennine hills.

The north is an invigorating place, there’s a post-industrial beauty here unlike anywhere else. It’s also a tough place, precarious and on the edge. Sometimes we can feel powerless and unheard; our response to this, is to pick up guitars, make noise and hammer down a punishing rhythm.”

Written over a 3 year period, Mean Sugar is a cathartic creation, set against a back-drop that has seen people endure global pandemic, endless political turmoil, a cost of living crisis and war. During these times often the best coping mechanism is to go into a room with your friends and focus your energy on playing some very heavy and loud music.

Recorded by Joe Clayton at No Studio and mastered by Chris Fielding (Foel Studios), the album sees the return of original vocalist Simon Scarlett who helped craft the band’s debut ‘One’ EP, originally released in 2016 (and reissued on APF Records in 2021). First single ’Stitched Up’ was according to the band,  "one of the first songs we wrote as a full band after Si rejoined and it was one of those where everything clicks and it almost writes itself. It just fell out of us. It features not only one of the catchiest riffs we’ve ever written but also one of the heaviest and most disrespectful.  Lyrically the track is about perseverance. We are surrounded by disruption, things that trip us up, make us lose sleep and neglect our own fulfilment."

Watch the video now:

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Credit: Jay Massie

Oxbow – Love’s Holiday

Posted: 23 July 2023 in Albums
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Ipecac Recordings – 21st July 2023

Christopher Nosnibor

Thirty-five years is a long time. Not jus in cat or dog years, but in human years, too. For many, it’s half a lifespan. Perhaps it’s not so long in the scheme of the existence of the planet or cosmos, but that’s a timespan incomprehensible to most people, for whom the time from lunch till dinner feels like an eternity. But here Oxbow are, marking thirty-five years of existence.

A defining feature of their work has always been its diversity, and Love’s Holiday showcases that in abundance. The three songs released ahead of the album couldn’t have been much more different from one another, from the grainy, pained, and soulful ‘1000 Hours’ to the brooding, contemplative ‘Lovely Murk’ (both concerned with death and dying) via the full-throttle energised grunge-driven poke of ‘Icy White & Crystalline’.

How representative are they of the album? Entirely. Love’s Holiday has range, both sonic and emotional, and Robinson’s lyrics are dense and multi-facteted, and read like poetry. At first you’re struck between the eyes, but them you chew on them, because there’s more than mere impact, with smart wordplay running throughout, and they’ve visual, evocative, charged.

It screeches in with the sinewy discordant noise rock of ‘Dead Aherad’, Eugene S. Robinson hollering hard against scratchy guitar and tetchy drumming – and then, seemingly out of nowhere, everything locks together and brings a melodic chorus that’s somewhere between grunge and prog, landing in what you might call 90s alt-rock territory. Or you might not, but I’d challenge anyone to define it more specifically.

The raw, seething ‘Icy White and Crystalline’ drives in before ‘Lovely Murk’ and ‘1000 Hours’ follow one another in succession, changing the mood, pace, and dynamic of things. This piece of sequencing works well, as the intensity of the opening brace is enough to leave you gasping for breath and experiencing palpitation. Kristine Hayter’s Lingua Ignota choir vocals on the former fill the song with a white light, with something of a Gospel feel, in keeping with the song’s theme of death and ascension, after which ‘1000 Hours’ balances darkness with light.

A choral surge and rolling piano provide the backdrop to ‘All Gone’, and Robinson showcases his vocal versatility to stunning effect; first, a cracked, Bukowski-like drawl, before breaking into barrelling delivery more akin to Tom waits, and then switching to a hushed, intimate croon. The song bristles with tension and oozes soul.

There’s another switch of instrumental arrangement on ‘The Night the Room Started Burning’, with acoustic guitar entering the mix, and things taking a tense post-punk, almost gothy twist. But again, the choral backing adds a haunting dimension to the song, and it’s incredibly powerful. Pushing on with the stylistic collisions that they absolutely own and utilise to optimal effect, ‘The Second Talk’ melds no-wave noise with country-coloured slide guitar, before ‘Gunwhale’ takes leave by the grandest, most theatrical means possible, before slowing to a grinding drone.

If the overall mood of Love’s Holiday is reflective, introspective, there’s so much detail among it all that it’s hard to unpack even after several listens. Herein lies its greatest strength: it’s not an album which conforms to a genre, but an album which serves as a vehicle to convey, not one thing, but a whole spectrum of complexities. Love’s Holiday is not easy to process, but it’s an eye-opening artistic achievement that thirty-five years in, Oxbow are absolutely at the top of their game.

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