vote
7.0
- Bands:
AWOL - Duration: 00:24:13
- Available from: 04/26/2024
- Label:
-
Flatspot Records
Streaming not yet available
Founded during the interminable Australian lockdown at the height of the pandemic, AWOL rushed into the studio as soon as they were free to record their first EP in 2021, just in time to ride the explosion of the national hardcore scene led by the Speed phenomena. A few tours in their homeland were enough to attract the attention of the renowned Flatspot Records, who rewarded the quintet’s potential and perseverance by releasing this short and sharp debut.
Already from the title and the demonic cover artwork, the formation announces the desire to reduce the listener to shreds, expressing itself in a super heavy hardcore that draws from historical and well-quoted names such as Madball and Biohazard, but expressing itself as modern killers such as King Nine and God’s Hate, with passages that recall another extremely influential band among the new generations but which did not reap what it sowed, Trapped Under Ice. Rough vocals, groove-driven riffs and massive breakdowns remain a world away from Will Putney’s current explosive 4K productions, reaching our ears in a distorted and noisy form that increases their danger and street credibilityamplifying the message carried by punishing lyrics that cover themes of deception, failed relationships, drug addiction and police brutality.
“AWOL” properly sets the tone for the carnage, “Oblivion” offers a riff on which to swing your arms at some unfortunate person, “Kingdom” leaves room for the riff for the longest song of the collection, the urgent “So Many Nights” from soundtrack to the revolt, while, wanting to add some acoustic nuances, “Lejos De Dios” and the title track broaden the sound spectrum just as much as is strictly necessary.
Simple and direct from inspiration to development, which takes place in nine tracks between two and three minutes in length, AWOL do not shine in any field other than the one fundamental to a hardcore band, evoking that intensity and sense of danger that they can usually be perceived in the front rows of a concert without barriers, with one eye on the band and one on what is happening in the pit, ready for the accidental impact.
Australians don’t invent anything, and what you read above could be applied to many colleagues, but if your tastes fall within the references listed, this debut, blessed with the gift of synthesis, will make some enjoyable rounds among your listening sessions.
