Some bands begin to edge out of the shadows, allowing the brightness of accessible production and relatable lyricism to evolve their work, while others sink deeper into darker and insular innovation. Hey Colossus are a group that are doing the latter, as proven by immersive and razor-sharp The Guillotine.
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LP on Rocket housed in die-cut sleeve with red inner sleeve.
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After filling 2015 with more gloom than it could possibly handle, Hey Colossus attempted to take a break which really didn’t last long cuz here they are, loud and proud, with another full length record to cut you in half with on Rocket Recordings.
Ah, yeah, I remember this, the impenetrable sludge of the Hey Colossus sound. There’s something in here for all types of downbeat freak, from the krauty fuzz repetitions of the Derren Brown-worshipping ‘Back in the Room’ to the deep emotional chime of ‘Calenture Boy’, this record will surely unite fans of heavier psych, stoner doom and post-rock. There are some dodgy vocal moves at times though, particularly on that first track and ‘Experts Toll’, though on the cleaner escapades they feel much more controlled and less, well, hilarious. See ‘Englishman’ for more. ‘Potions’ is lovely though.
It’s really strange that I saw this band support none other than Karen Gwyer not far from NR home city Leeds. The technoheads’ rock band? They certainly manage to hit as hard as a 140bpm kick pattern in places here, and even provide their own chillout room soundtrack for a couple too, so get on down to the rock rave.
10/10 JONATHAN SUTCLIFFE 6th June 2017
It was down to me... or, rather, it's certainly down to me to relay a "real" and "proper" review of this record - for all my faults.
Ok; rather than inform you of a track listing you can read for yourself and due to my inherent laziness or due to the subconscious bullying r.e being that intrepid know-all once beloved by none other than himself... I can for one say this isn't a disappointing effort... The professionalism shines through - and the arguments r.e sound quality and the time it takes to shout: That's a wrap!!!! or Can it!!!! are too numerous to mention... Safe to say I would prefer a harsher sound and a more abrasive recording - like the gud ol' days of the d.i.y aesthetic. I don't know - the essence of not being quite in control of every facet of the procedure must be a plus, surely... (refer to Tad's masterful e.p Salt Lick wherein the sound engineer loses his street cred and fucks up... Tho I adore that chance interaction... No; such things can't be replicated...)
Englishman stands out as a worthy tune - the obligatory and bog standard drum bass and guitar interaction... I mean, what can one state other than it's listenable or no..?
Yes, this is mellow H.C... Black and Gold gave an inkling of things to come,for those with the ears to hear. That said, nightmares abound r.e rock ballads and soppy pap...
Turning our attention to the now hackneyed but ever so worthwhile Back In The Room... This is a mighty endeavour... and it is a shame, refer to above scrawled intimations, that the recording value of the whole l.p was so tightly controlled - a bit of reverb and distortion r.e bass and guitar would have been far more in keeping with this song's compositional construction (sic).. I must also refer the dear listeners to the song On The Pleasures Of Hating (hence my statement that the song is somewhat hackneyed) - a song when first heard did what no song has done in a mighty long time - i.e. sent a chill up the spine... The riff's fucking amazing and the original 10inch intensity of said song would have worked wonders for this l.p - i.e the passion is muted somewhat to say the least.
I like me noise, I really do!
And that's it, dear listener... Waxing lyrical is all good and well. Supporting the akt is what counts.
And I am now all agog as to what next... Please don't try a rock opera!
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- The Guillotine by Hey Colossus
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