(Independent)

Music for the post-apocalypse

If Big Brother from George Orwell’s Nineteen Eighty-Four was so inclined, this is the noise that would accompany the Two Minutes’ Hate. No Anchor’s music isn’t particularly hateful, but it seems clear, particularly on Real Pain Supernova, that the band are documenting something akin to the end times. The record begins with The End, which starts calmly with innocent harmonics before the distortion-laden basses of Ian Rogers and Donovan Miller suddenly punch you in the face. By its conclusion, Rogers is screaming, “This is the end!” The band concentrate on sludgy, repetitive bass riffs and harsh, often distant, vocals, drawn together by Alex Gillies’ percussion, which varies between restraint and outright pummelling. Mostly it works well and songs like Dead Pony and Key Cutter demonstrate their talent for addictive and angry hooks. But the record’s 17-minute conclusion, Gatton Bohemia, proves the highlight. Its slow, meandering bass line builds a sense of impending doom that eventually peters out into feedback. Just when you think it’s all over, a chaotic flurry of drums and noise gives you a final kick – brilliant stuff! Nevertheless, some songs lose momentum, with Come Again and Shut My Mouth less enticing due to the absence of distinguishable vocals. However, these minor complaints shouldn’t discourage you from a powerful record.

DARRAGH MURRAY

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