The English alt-rock quartet Vulgarians will be releasing the EP Almost-Instinct, Almost True on the 5th of May.
Vulgarians – photo credit – Wayne Clayton
In advance – Hands Around The Waste – which is a very different space to their more gothic architecture with the track having a wider sonic range and sense of mania which allows Vulgarians to explore a different dynamic to their music, whilst retaining their essential core of menacing and oppressive soundtrack.
It will be interesting to discover what other ideas are investigated on Almost-Instinct, Almost True.
Like drawing blackout curtains the music cloaks the listener in an oppressive darkness from which they have no wish to escape.
From the four track release, the closer, Naturally Nothing is a throbbing track that hammers the head with its incessant wall of panic-stricken sound, that is broken by a sublime single springy guitar which leads to the second half of the song in which this refrain loops to the foreground, having been an element of the jackhammer in the first part, wrapping itself around the head like a viral infection.
The English goth-rock band Vulgarians launched their latest single today.
Lost Sanity Smiles creeps out of the Crypt in hinges needing oiling as the quartet play across each other, giving the track an intransigent discordance which drips into the ear like a scythe tapping the cranium.
Vulgarians do not attempt to make the composition easy on the brain as screeching guitar finger slides pierce the cochlea, whilst, vocal delivered at a pace that bears no relevance to the pacing bass rips around the room. The percussion, akin to a heart being defibrillated, pumps in and out of ear-shot.
Sometimes music needs to be played quietly to gain optimum traction, other times it needs to be played with sub-woofers and tweeters fully exercised with volume notched as loudly as possible – Lost Sanity Smiles demands the latter.
Although only my second article about Vulgarians, I am sensing something of a favoured band surfacing.
Whilst Vulgarians produce music that has you wondering in which cellar you have been tied, there is also a bustling energy that is begging to burst through the eardrums. Many bands sound paltry on low volume, or sublime and vice-versa, the quartet have the ability to work both with quiet headphones and ear-bleeding speakers bouncing across the room.
As you well know I am always a fan of bass strings hanging loosely on the fretboard and Vulgarians smartly utilise these vaguely tied four strings to provide the backdrop, not the centre piece of the out-put, which is how they are able to function across the decibel range, though I would advise bass on maximum, else the transition becomes a subsumed sound. It is the haunting guitars in centre stage that sear across the brain with a burning tempestuousness that flays across the room like welts from a whip on the back. Percussion hangs on bass drum and forays across the kit with nary a soirée to the snare grab handle, preferencing cymbal and open hi-hat for reference point to which the ghostly apparition of the vocal completes the mood.
With only three songs to hear, I am looking forward to discovering more of the ideas of Vulgarians in short order.