Devil's Gate Music
Related Articles
Häxan, it’s been a while, ladies. Five years, to be precise. Stop for a moment to consider the shit that has gone down in the world since the release of the acclaimed debut from the South Wales rock trio in 2020. On second thought, maybe don’t. Best to try and forget the majority of the last five years. Even so, it’s taken an Axl-like time for the trio to follow up said debut album ‘White Noise’, but, considering how busy the trio have been on the road (appearing at Bloodstock in 2024 must have been a special moment), they get a pass. Especially since the new 5-track EP ‘Death of Me’ is hitting some heady heights.
Perhaps if the band had rushed out a few quick successors to ‘White Noise’, then the results might not have been as potent as those found on ‘Death of Me’. Five years down the road, more life experience (for better and worse), and ample opportunity to hone that all-important songcraft. And given how bloody busy he is, Grammy-nominated producer Romesh Dodangoda might not have been available to pull the strings from behind the production desk.
Dodangoda worked with Motörhead on ‘The Wörld Is Yours’, and you will pick up a bit of a Motörhead-vibe to ‘Sirens’, especially the thick, gorgeous bass-rumble from Harriet Wadeson that would have Lemmy raising a Jack n’ Coke in appreciation. Dodangoda worked closely with Phil Campbell on ‘The Wörld Is Yours’ and has gone on to work with him and his Bastard Sons. The same naturally gritty feel that Campbell has to his playing seeps into Sam Bolderson’s on ‘Sirens’, with the result being arguably the stand-out track of the five featured, although the majestic ‘Thirteenth Hour’ does run it a close second thanks to its mystical, sweeping, epic qualities.
Sam Bolderson’s vocals are outstanding throughout, and it is hard to make a comparison to other vocalists out there. Excellent enunciation at all times, Bolderson has that combination of powerful, rawk vocals (the opening, title-track immediately springs to mind) and lighter, more melodic vocals – the exemplary ‘Burn Alive’ being just one example, and if some hotshot producer tinkered with it and stripped it of it’s bite, then some pop-starlet could have that angst and street-cred that is often out of reach. Unlike so many young vocalists out there, regardless of gender, Bolderson never overreaches, and where others might stretch for that extra high note and overstay their welcome, Bolderson shows restraint and reigns it in. When she is called upon to hit those lengthy high notes, she makes it look easy.
‘Death of Me’ is heavy. Listen to the immaculate work of the backbone of the band, Harriet Wadeson, and Jess Hartley (drums), on the chugging ‘Collide’ and purr with delight once they lock into an almighty groove that grows into a Maiden-esque gallop. Or the slamming riffs that Bolderson constantly conjures up throughout the entire EP.
Unlike Axl and ‘Chinese Democracy’, the wait has certainly been worth it. Maybe not leave it another five years for a follow-up though, God knows what AI-generated shitstorm awaits us in 2030.
Pick up a copy of ‘Death of Me’ (Vinyl and CD) direct from the band, HERE. Maybe even indulge in a pack of limited edition ‘Death of Me’ tarot cards. Failing that, get to one of the upcoming shows on the ‘Girls Just Wanna Have Funerals’ Tour and splash the cash at the merch desk:
Review – Dave
Photo credit – Summonfire Photography
