I don’t know if it is the effect of cough mixture 3 years past it’s sell by date, the plague like cough that necessitates it or the surrealist nature  of yuletide in 2022 but “Blood Red Lullabies” is hitting me In the right fever sweat spots.

This is the second album by El Vaquero Ungulado going under the moniker Hoofmark and he brings an Avant-Garde mix of Blues, Americana, Psychedelia and Black Metal to this eclectically exuberant collection.

First off this album is pretty nuts  – not in a n eyeroll “you don’t have to be mad to work here but it helps “ David Brent way , but in a unfettered Zappa way.

Talking of the Gervais character there is a strange link in my noggin with “Naughty Little Men” with Hoofmark going all Jack White whilst bringing to mind Bowie eviscerating Gervais’s wannabe actor in Extras. Except with some blast beats at the end.

The blues that oozes from “Blood Red Lullabies” is evident from the opening track – the proggy and angular “So Indifferent Blues” . This blues is flute filled, thanks to Jorge Silva , and tortured and distorted bringing to mind some of Jack White’s solo works from the 2010’s as well as some Led Zep flashes as well. The piano, played here by Andre Hencleeday goes from a lackadaisical Tom Waits riff to pin point poignancy as the track progresses.

Just as I feel I have settled into a sweet smoky American hotpot Darkthrone worship spews forth from my speakers in the shape of Folktales of the Archdemon. Galloping punky black metal riffs and drums with a spiky guitar line and vocals that wail like a slightly less hysterical Ghost Bath.  Minimalist post rock Black Metal which still captures the otherworldly natural aesthetic this album exudes.  Hoofmarks image of a long wooden mask that seems to mix African and Norman influence, red robes and black gloves creates mystery and warmth at the same time which is reminiscent of the music.

“Clapalong” is an eerie bluesy harmonica led nursey rhyme of a song that brings with it the ghost of Bowie once more and Brian Molko of Placebo in the intonation. I immediately flick back and play it again.

A gently enchanting instrumental is next in the guise of “Gloria a la tribu (ella esta viva) filled with gentle melody and marching percussion. The melody is replicated in the epic Azuis & Vermelhidao, one of two Portuguese language songs on the album and a filthy mix of doom, blues and 2nd wave black metal. Truly the devil’s music!  Iommi licks spiral off whilst there is plenty of orange squeezing to keep Mr Del Monte busy for weeks. The bass is so filthy I need to take a course of antibiotics after subjecting my ears to it.

Talking of filthy, Mito Artificial is one greasy pole short of a strip show, but one that sounds like it is taking place in the projection montage at an Electric Wizard show. Bluesploitation anyone? Speaking only the basic Portuguese gleaned from the Nailbomb album and drunken evenings in the local Portuguese café drinking greatly discounted Sagres in the past I can only guess at the lyrical content but it sounds naughty!

Hoofmark sign off with “All About our Family” a drum and percussion led instrumental that is more of a jam that peters out into a few moments of silence before a jazzy little ditty breaks out. Odd, wholesome, unnerving.

Just about sums up this cracking record.

(8/10 Matt Mason)  

https://www.facebook.com/hoofmarkofficial

https://ragingplanet.bandcamp.com/album/hoofmark-blood-red-lullabies