Review: Earl Of Hell ‘Earl Of Hell’
It’s somewhat strange that when I first reviewed Scottish fuzz rockers Earl Of Hell back in April 2022, I ended it by saying ‘catch them wherever and whenever you can’. They had just released their Get Smoked EP, and I was suitably impressed, and yet it took until January 2025, when they supported Brant Bjork Trio in Manchester, that I finally heeded my own advice and saw them live.
That evening, reviewed right here, the quintet performed several songs from this, their debut full-length release, which has been co-produced by Alain Johannes. They have a certain heaviness about their macabre induced fuzzed out rock, and the album kicks off with a forty-five-second quirky intro called Satan Is Real before they spring into action with an ever so catchy riff laden track called The Infernal Dream. Live, this had heads rocking along, and it stands out because of its simplicity and effectiveness for getting you prepared for what lurks ahead.
The guitar rich rhythms are played eloquently between Lewis Inglis and Dan Mitchell, and with a song about a certain fella called Vlad up next, Impaler gives you a further insight into the band’s style and demonstrates how well they combine the stoner/garage/punk genres. It’s a brilliant track, with a stinging solo that’s infectious, energetic and captures the essence of their live performances.
With Brave New Age, you get a different tempo with a slightly heavier edge to it, allowing the smoothness of Eric Brock’s vocals to come to the fore. Towards the end, the riff gets heavier and faster, adding more dynamism, as it leads into the more sinister sounding Calling, Is The Crow. When I saw this live, you could really hear the deep bass from Dean Gordon, but it’s not instantly recognisable in the mix, until a good few minutes in, but it’s a delight to hear later in the song.
an explosion of sound and cracking solos…
Looking back at the live gig, it appears that all the album songs were played that night, and it is the lively ‘70s rock inspired My Twisted Mind up next, which allows the musicianship from all the band members to shine through. However, this is overshadowed by the heavier and more boisterous Macabra Cadabra. There’s variation on the vocal delivery from Brock, which gives a different impetus when it’s needed, before it all slows down and the tension is built up between the guitarists, allowing for an explosion of sound and cracking solos that finish it off perfectly.
You don’t often get songs written about Scottish grave robbers, but that’s exactly what you get with Waiting To Die which illustrates the band’s ability to write catchy choruses and riffs. They draw on their musical influences suitably well, and the rhythm flows bewitchingly in a mischievous and menacing way.
Their sterling effort is topped off with the final track, Bloodlines, a seven-minute beast with that western/cowboy influence at the beginning, taking you on one final adventure. The riff is melodic and haunting, accompanied by a huge drum sound that allows the vocals to lead you into their own version of hell. The pace picks up midway, just to remind you of their quality one final time, but one thing is certain, you won’t forget this record in a hurry.
Label: Copper Feast Records
Band Links: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Matthew Williams
