Those who soaked themselves in the music of The Devil’s Blood and sniffed its heady scent live knew that they were witnessing one of those special bands that don’t come around that often. They burned brightly through some fantastic albums and memorable gigs then terminated in suddenness and unfortunately tragic circumstances when tortured progenitor Selim Lemouchi departed this mortal coil. Leaving a short but substantial legacy behind them it obviously took the surviving members time to get to grips with things and carry on. We already witnessed the birth of Dool with several past members reconvening under the auspices of singer Ryanne van Dorst and making a couple of albums such as their latest ‘Summerland’ earlier this year. Now it is time for us to both remember the past and look to hopefully a bright new future via Molassess. Originally forming for a show at Roadburn in memory of their comrade and taking name from Selim’s last written song and basing it around a two track single the connection has obviously inspired them to continue making music under this form resulting in debut album ‘Through The Hollow’ This sees singer and sister of Selim, Farida Lemouchi’s hypnotising voice spellbinding us once more around the musicianship of Oeds Beydals, Job van de Zande, and Ron van Herpen along with Bob Hogenelst (Birth Of Joy) and Matthijs Stronks (Donnerwetter).
One should not go into this expecting a carbon copy of their former self. I would imagine all that sticky blood will be dispensed of live when performances can resume once more. There are certainly facets within the sound and Molassess are equally difficult to pigeonhole as their sound shifts from passage to passage. Songs contained here often stretch to the ten-minute mark but flow with natural consistency, drawing the listener into their somewhat hallucinatory world as facets of progressive music and psychedelia flirt, illuminating just two directions of their stylistic creativity. The lengthy title track is first with some warped strange sounds taking us in before it spreads wings gracefully and coasts off. That voice returns and is instantly beguiling. A hint of sorrow touches it as the music twists and turns around, melody strong enforced by big drum beats and kaleidoscopic guitar hues. It’s trippy and somewhat avant-garde with some high hitting near operatic birdsong driving into a peak. Perhaps sound wise it owes as much to the somewhat out-there weirdness of a band like Madder Mortem as it does the one people maybe expecting and despite length it’s a hard-hitting opener that once embedded has the strength of its addictive personality to make you want to come back to it time and again. Yes, there is definitely magic here and plenty more to follow. The sublime and soaring chorus of a track such as ‘Get Out From Under’ really hits hard. The music is powerful although not fast, beseeching in its call and full of an epic clamour that is direct and grandiose; the musicianship natural and free-flowing allowing you to follow whilst marvelling at its intricacy and skilful flourishes. The progressive drive of the next whopping number ‘Formless Hands’ sounds like it has been borne from a long-lost classic 70’s number. With the vocals it takes on a dusky and hypnotising presence like a fairy-tale being told in a smoky club, listened to while calmly lounging about as it drifts about lugubriously.
Expected the unexpected as paths are explored. There’s more than a touch of folk music attributed to the haunting ‘Corpse Of Mind,’ a gorgeous number focused on acoustic guitar and swooning vocals. Then there’s some nodding noodles projected in a jazz direction on ‘The Maze Of Stagnant Time.’ Naturally there are some contemplative moods and emotions here, a touch of sadness imbibing songs like ‘I Am No Longer’ which one would expect are based on aforementioned personal grief. Not without hope and rebirth though, there is plenty of beauty found amidst it all as well as the heart-breaking sorrow. Even the guitars weep here. Despite the title ‘Death Is’ is surprisingly upbeat with a near reggae beat and jauntiness that again is unexpected, the vocals rising with an almost joyous clamour. Not having the lyrics, I have not touched upon them as would not like to misrepresent but every emotion is touched as a feeling of pathos sinks in amidst things before drawn to a rousing finale with the keyboards. ‘Tunnel’ could well draw things to a natural conclusion, a sad and solemn instrumental but perhaps the band did not want to leave things on a downer and have a final gem at conclusion. There’s no mistaking the message in the title ‘The Devil Lives’ and this really does sound most like a Devil’s Blood number with its gorgeous jangling guitar work and vocals taking us out on a very high note with a big smile and treasured memories.
So, do we have one of those very special bands who don’t come round that often here? I think we might just do!
(8.5/10 Pete Woods)
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