Sometimes when I listen to music, I will get visuals and Bring the Axes by Princess Ugly is one of those times. In my mind’s eye I see a 1990s retelling of Tony Scott’s The Hunger(1983). It has a vampiric feel to me; it feels dangerous and seductive. a subterranean lovesick blues buried in a very well-crafted industrial Gothic electronica.
The beauty of this EP is that it doesn’t grab you immediately; it seduces, gently leads you along until it meets in an excellent coalition of Jim Thirwell’s Scraping Foetus Off The Wheel, Depeche Mode discovering a sampler, and Sisters of Mercy. Whether that is purely imagined on my part is neither here nor there, but it feels like a good description to me.
By the time we get to track 3, Bring the Axes we are ready, and it delivers. It has the right amount of sleazy swagger and dangerous intentions. It grows from there and almost builds confidence in its menace.
What really rings out for me is the drum programming and arrangements. When guitars and a real bass come in, it’s almost a treat. It lifts the final songs with an expansion of the sonic palette that also increases that sense of danger.
I totally recommend this EP and their recent release, The Out. Check them out on Bandcamp and all streaming services.
My favorite track on this week’s album, “Bring the Axes,” by @princessugly.bsky.social is the opener, “Obscure Procession.” It opens with a riff that immediately catches the attention, then proceeds with great lyrics, including a chorus that’s very relevant to the world’s problems. Bring the Axes, is a dark and crunchy EP, Growling vocals and strong riffs and rhythms. I like it!
Aarpn Smith
The lyrics as they are performed by main vocalist J. Christopher-Rome, come across as the voice in the back of ones head, conjuring up darker thoughts, almost mocking the person they are speaking to. Second vocalist Cat Powell-Hoffmann provides a lighter tone; sometimes harmonizing with the main vocals, but often providing a slight counterpoint; acting like a glimmer of light in the darkness.
All of this is given a structure by the instrumentals by Christopher Moncrieffe with it’s driving beats and repetitive programming. At times, the intensity gets dialed up by introducing an electric guitar, moving the songs from their DarkWave foundation closer to something you’d hear in Rock of Metal.
Overall, this is excellent work. The music is very listenable and enjoyable on it’s own, but the lyrics and vocal delivery elevate the piece to another, if slightly creepy, level. The songs are well thought out, extremely well produced and remarkably catchy. And they will give the listeners more uncomfortable feelings a voice that will follow them for a while.
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