Things have certainly been quiet on the Cars On Fire front for the last 12 months or so, but rest assured that was only on the surface as the Bristol quartet’s brand new album hits. ‘Black Hearts & Bloody Hands’ convinces us that the break from the scene was well worth it as the outcome is a truly memorable group of songs and no doubt some of the best work from the band to date. The follow up to ‘Dig Your Own Grave’ (an album which is now three years old!), ‘Black Hearts & Bloody Hands’, is really a fantastic experience. The raw energy created by the band in live shows is captured perfectly in a series of thunderous tracks that combine hard-hitting instrumentals with an imaginative balance of harsh shouts and smooth clean vocals.
Opening track ‘Borders’ starts with furious screams, repeating the same line until guitars interrupt tearing in and driving the song along with guttural distortion. The chorus is full of melody, the energy being reserved for the continuing hardcore punk verses. There are tones of mainstream alternative rock littered amongst the heaviness, the seeds being planted to find the middle ground in the equation for mainstream success. ‘Sex Death Sex Death’ is 100% adrenaline (the first positive comparisons in sound now becoming clear - think early Every Time I Die for the brutality and Biffy Clyro for the melodic song structures). It’s a soaring, epic track which pulls off as many impressive tricks as it does create moments of jaw-dropping intensity. It’s aggressive yet heartfelt, angry yet passionate. The modern, heavy edge and progressive moments work in the track’s favour, allowing an original sound to be carved out for the band. There’s a clear chemistry, which is always refreshing, meaning that the music is as honest as it can be.
‘Of Grace & Bone’ brings in Charlie Simpson of Fightstar (and nobody else, of course) to help out on vocal duties and his addition adds an extra texture to an already accomplished rock song. His foreboding tones are a welcome addition, and his appearance on the track doesn’t take away from its impact. Where screams are lacking, huge uplifting vocals sit perfectly. The song bubbles and boils in an addictive way, the beats ‘drumming’ up interest and the attack of the guitars leaving the listener in awe. ‘The Singapore Grip’ is just as intense, a sneer of ‘Hey ladies’ uttered as the track explodes with a real groove, pushing it into rollercoaster territory instantly. It’s unpredictable, manic and uncontrollable, a combination that promises exciting outcomes. The keen ear for melody from the band is yet again evident, making this song both visceral and intelligent.
‘Quarter Deck Confession’ allows the band’s British sound to filter through better than anything on the record so far, and that’s something that UK heavy music needs more and more of for it to step away from similar sounding bands from across the pond. The vocals here are strong, the lyrics zealous and the urgency drummed up by previous tracks staying at the forefront of the music. It’s no doubt a 100% push from the band and one that makes this a great album track. The end of the song is particularly sturdy, with nautical themed lyrics dancing over incessant and bludgeoning guitars. ‘Rhythm & Command’ is brutal and raw, oozing style and substance. There’s a brief lounge music-esque break in the chaos before the noise returns, and when that happens it’s difficult to keep up with. The heavy groove returns at full-force with a vengeance, making this track a head-banging/fist-pumping behemoth. It’s here that vocalist Ali Ross really starts to sound like Keith Buckley, were these guys separated at birth? The similarities are mind-bending!
‘Anchor Your Heart To The Sea’ is bizarre, mesmerizing and even terrifying at times. It feels at least 10 times faster than anything that has come before it, although I am sure that’s not the case. It’s both thrilling and intoxicating, making it a sure album highlight. The experimental sounds are possible risks but here they sound like they have always been part of the Cars On Fire mainstay. ‘Marchioness Of The Night’ has funky, heavy beats along with punk-laden vocals, snarling distortion and a great clean/shout ratio. It keeps things fresh amongst an album where a single (although great) idea is explored. The chorus is soaked in glue, sticking in the head and refusing to budge.
‘A Cataclysm Unkinder’ starts with a pained bellow before continuing with recognisable intensity. It’s real ‘fire in the belly’ stuff, making the listener ‘weak at the knees’ (as suggested by certain lyrics). It’s full of anger and uneasy tension, but at its core it’s straightforward/no-shit heaviness. There’s even a lyric mentioning the late Patrick Swayze, which is both ridiculous and alluring. ‘Fractions of the Truth’ is the final track of the album, and it’s a momentous and victorious one at that. It’s the perfect finale that allows the weight of the nine songs that have come before it to come to the surface, rounding off the experience of ‘Black Hearts & Bloody Hands’ quite nicely. There are yet more growls, roars and spits (from both vocals and instruments alike). It grabs the attention once more, refusing to let go as riffs take you prisoner and melodies set you free. It fades to a close and only then does it let you pause for breath.
All in all, ‘Black Hearts & Bloody Hands’ is a great album from Cars On Fire. Their sound is fantastic and it’s a sound that 2012 is lapping up, and in particular, the band’s hometown of Bristol. With a heavy scene that is becoming increasingly more competitive as the talent rises up, now is the time for bands like COF to show what they are made of, and this album is the perfect weapon to take to that war.
Download the album here - http://carsonfire.bandcamp.com/
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