Yes.
The sledging, surging melody is super-strong and drenched in feedback, with the weight of the drum rhythm pinning the listener to the floor on his/her back.
The shifting sands of distortion lie deep beneath a bass rumble that thunders in your heart, and I don’t know if it’s that heavy drum pattern, or the weight of the inevitable in the vocal that keeps you pinned down, and in awe of this Bradford three piece.
Superstition apart, this blurs across the senses like a cocktail of downers and strong drink, the far-away sound perhaps closer than I think. Out of the blackout comes the lead guitar hook and those heartbeat drums, as the whole thing glows with a sense of the absurd before thumping not to any conclusion except the final one. It’s more of a desperate cry for help in slow motion than a love song. Ineluctably so.
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The skipping electric ‘Dead Letter Day’ is a darkened jaunt through the sunshine. It’s characterised by the narrative vocal, together with a superb lead riff that distorts and disintegrates under the tremelo towards the conclusion. The rhythm is strummed on an electric, and the whole effect is brighter, though there’s tension between that and the altogether more melancholy storyline.
It’s all gorgeously apoplectic – if you’re reaching for your granny’s medicine cabinet, then this is the perfect soundtrack. And that will do for me!
http://www.myspace.com/harmacymusic
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