As soon as this band took to the stage that was it. They made it clear that they were here to get down to the business of playing and that they certainly did with ‘Destructive’. As it got underway everything about it fell into place in a way that let you know that here was a band that will get your attention one way or the other. This is a hardened number that they really got into and the teeth shown were matched up with a gnarly bite. But it is also easy on the ear and nothing about it felt rushed. They then carried on that rich vein of form with ‘Psycho Love’. The intro is all about pace and presence, yet it is intelligently stoked. The totality felt from how it all comes through gives it a man calling. They cut to the chase with such great focus that you are taken along for the ride as everything sincerely moves up a gear. Off the resonance of the guitar work came third track ‘Shotgun Sexy’ and this saw the band give it both barrels. The overall tracking is a superbly managed display as it is all brought to bear. Doing so also sees them round out the catchy side with a solid formality that is pitched just right. From the flourishes in the playing the inspiration is drawn and held in an equally impressive way.
They develop something of a broader calling with ‘Sin For Hire’. How the deeper sound prevails shows a heavy Zeppelin influence rubbing off in the right way. That is how they derive inspiration here but they so in a way that produces something that is more than the sum of its parts which is picked up on from the dynamics at work. To begin with ‘Deep In The Woods’ has a somewhat stoic feel and you draw a comparison to Portishead from it. The lavish suggestiveness coats it in a heady texture that necessitates what is asked of it. From there it progresses to something that then draws a Soundgarden comparison. That makes for an interesting contrast in a highly referential way. This is a quality that the sound relies on and comes through in the excellent measurement on show in the bridge, which the chorus helps to fulfil the potential of. From the well versed pitch of the harmony on the intro, ‘The Chant’ follows on from how proceedings are opened in a way that allows you to feel the flow. This zips through, although not in a quickened manner, but rather a fashionable and controlled one. The urgency still shows and also hints at a lay anthemic security at work in the process. As a comedown to the way the rest of the set had gone before it also displayed a knowing understanding of what showmanship needs to be about sometimes.
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