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By Chris Ensell [CC BY 2.0], via Wikimedia Commons

Conceptual and euphoric, released on the 2nd of March – the 12th album available from the Sheffield five-piece is a challenging and transgressive example of post-hardcore big heart.

The harrowing and melodramatic thrash-core of the Spence siblings Eva and James have once again pounded a hole in the minds of metal fans with this new release. Brutal and feint this new album is full of darkening, draconian nightmares that will subdue your emotions in transience. The album’s a winning drag race towards an elaborating freedom found through music, just what existence is doing with your heart.

It’s a white noise that crashes through your head as it tries to uplift your sense of a higher understanding, intimidating but shy. In the song Rituals the lyric ‘there is no forgiveness here’ cries injustice and self-deprecation. Without trashed punk like this, would we really have a home for all of our troubled undercut feelings?

The album touches on transcending material life on earth, challenging our deepest inner selves to be accounted for and it has a real sense of danger about it – the end is nearer than it seems for these guys. Their infusion of spirits seems to have made a powerful connection between the group that should not be put to test, bonded by punks unity, torn apart by societies motionlessness – this music clashes this.

Still, there is some recognizable youthfulness within its vocals. The next track The Hollow Hour reflected the severity of clubbing culture and its detriment on the human condition, into an analogy for existence. The true emotions of Hardcore bands are most probably best left untampered with.

No resolution seems to have found this band, something remains possessing their innocence and despite a worldwide punk renunciation they are still full of depression and these songs ooze with it. All the while punk has such reserved energy in it, once again these songs do too, but without a peaceful society its songs will never be anything more but beating hearts in a rhythmless world. What this album does have is all of these converging issues painted for what they really are.

The album art is equally obstructed by our nature. It features a nomadic style erected piece of stone in the ground. A ritualistic symbol of time and energy, this music is confidently set aside from our modern reality and it is not afraid to scream that. Thematically it’s based on a higher sensation, felt in many ways – and its ethical transposition to the benefits of that. Almost asking to be left in peace, but not receiving that wish. Rolo’s latest release, buried in a weaning synthesizer speaks to the gods within us all, about hopes, fears, possessions, and imaginations. It’s lost in awe at the falsehoods of reality, but can’t help but identify with what evil powers are obtaining. The power found playing gigs seems to have been channeled by the group into this album leaning on the mythical within us all.

A good listen for when the little problems become to big. Quality sound nailed vocals and emotive music.

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