SOLD OUT - Sorry
This one has sold out on all formats. Sorry! View them anyway?
YOUR RECENTLY VIEWED ITEMS
- The Devil by The Devil
9/10 Brian Staff review, 18 October 2013
Right bloody rigmarole getting round to reviewing this today. It's been on the back-burner stewing away in my mind all week like the evil delightful little cretin it is. Seemingly the work of ex- Country Teaser Benedict Roger Wallers (currently littering my tape drawer with schizoid lo-fi transmissions under his Rebel alias) accompanied by chums Sophie Politowicz and James Sedwards. I know not who plays what but this record is one of the best rock albums of 2013, make no mistake
From the onset you are pinned to your chair, a tremendous opening track hits you hard in the face; all insistent hard 'n' sharp off-centre snare cracks and thudding kicks. Check them malevolent shrieking/twanging cyclic guitar riffs and the lurching, rumbling undercurrent of bass. It is the best math-rock tune I've heard for years, kinda Shit & Shine brutal but with the ferocity of the finest Chicago bands from 20 years ago. Remember Table? The wordless vocals are more derived from spacerock, all mantra-like moan and punk wail.
The following number, 'Silent Roar', is more like Manchester's A Witness meets today's "thug rock" Fall-sound, that bloody relentlessly bristling twangy guitar forever burrowing into your mind in tight shard-like loops. This beauty melds UK C86 mosh-pit scronk with the intensity of classic yank-rock, like two distinct transatlantic 80s styles viciously welded together for maximum intensity!
Followed by 'Agatha Christie', an eerie organ led cinematic prog tune with hypnotic "haunted house" organ that sounds inspired by John Cameron's Pychomania soundtrack before getting even darker with Bardo Pond-esque psychedelic trails and a disembodied horror vocal this is one hell of an opening salvo for an album.
We're reaching the half-way mark now with another piece of unnerving math-rock called 'The Throne' that would keep many a Shellac fan happy, lyrical absurdities panning spectrally from ear. Subsequently 'Michael and Jean' is fucking tapped and maintains the consistent excellence of this LP. Carried by a monotonous and malcontent riff, steady tight drums, and gurgling hilarious/terrifying Chucky/Merman-style bletherings, this fucker could drive you quite mad if you allowed it. It keeps threatening to break down into a more tuneful piece but stubbornly retains its pissed/possessed hold on you throughout.
The final couple of pieces are nudging ten minutes apiece. 'Girls Want You' begins as a desert-kraut-psych piece with the only key to the band being from the UK being the ridiculously misogynistic, filthy and hilarious faux-gangsta rap that is obviously a superb piece of irony considering one of these three is of the feminine persuasion. Bad, warped and very original blend here. Concluding with another fantastic, demented epic that has a psychotic repetitive Arab on Radar-esque bass-line, intensive rolling percussion, and some crazed fretboard abuse masquerading as police-car-in-airtunnel. Oh, and some piss cheap keyboard abuse of the highest order.
What a fucking blast. This is one devil of a disc. Buy it or drop dead. x
3/10 be.rt Customer review, 18th November 2013
How to make money out of a piece of shit? Bribe the reviewer and chose a band name and an album title that can't be googled or youtubed or napstered or whatever. All you need is stupid music fans, greedy for the next underground hype.
8/10 coffin dodger Customer review, 4th November 2013
The Devil are a bush not beaten around: loud to very loud choppy guitars, fuzzy guitars, wailing guitars, ok, guitars has it. Uber solid driving bass, heavy yet crisp 'no frills' skin beating and a synth in places where a synth's whine adds back-up threat to general guitar noise - did I mention the guitars?
Yup, quite a few decent tunes but tunes where pleasingly, at no point, does any track break into repetitive riff building - which would have been most easy, each track having more than a goodly smattering of catchy phrases. Straight up production that underlies the best sound values for this, and I hope any, lover of the genre.Low to non existent on vocal imaging moving anywhere further forward than strict background, plus with only minimal tweaks and twiddles the overall rawness of the sound appeals to my long-abused ears. I don't think I can listen to the growl along with me, almost Nirvanaesque (Sorry! shoot me, shoot me now!), guitars of 'The Throne' without a big grin breaking through the block-chorded fuzz to accompany the twisted 'what is that?' vocal scam.
Good stuff. Not jazz.
Get alerted to new stock from this artist / label.