May 19, 2021

H.O.U.N.D.S - All Killer No Filler Fest | Live Review

June 21st is but a month away which means we can finally get some live music back in our lives. About damn time. Before we can don our metal regalia and play “spot the metalhead” on the way to a venue, there’s the issue of stage crews. During the 14 months our scene was brought to a standstill, our crews hit dire straits. From relying on food banks, to deciding whether rent or electricity takes priority, to unfortunately taking their own lives… these guys and girls have had it harder than most. The UK Metal Merger was formed in a bid to raise funds for the Stagehand Relief Fund; an initiative to aid those heaven-sent people who have received little to no financial support from the government.

UK Metal Merger’s livestreamed All Killer No Filler Fest took place on May 1st at the iconic KK’s Steel Mill in Wolverhampton. Over the course of four hours, 12 bands including Blaze Bayley and Kill II This took the chance to shake off the 14 month stage rust for a great cause. The stacked line up included some legendary acts, fresh blood, and a name you may be familiar with if you’ve been reading FREAK for the past six months.

Our friends in H.O.U.N.D.S had been nothing short of instrumental in promoting the event. The Isle of Wight crew took it upon themselves to produce a limited edition t-shirt in which 20% of sales will be donated to the fund. Links to purchase that will, as always, be at the end. For this evening though, the hardcore fivesome stormed the stage at 9:30 for 15 minutes of crushing riffs and divine chaos [who coincidentally played later that evening].

The room was pitch black, bar the artwork for the single H.O.U.N.D.S is now synonymous with: ‘Beast’. Glitches on the LED screen draped the stage with minimal white light. As our eyes adjusted to the darkness we were met with the silhouettes of Josh Lawrence (drums), Dave Aitken (guitar), Jack Taylor (guitar), and Ben Paget (bass).

As the eerie sample from ‘Beast’ crackled through the PA system, the anticipation which had surrounded this band for months reached fever pitch. “Let’s see what all the hubba is about” one spectator commented. A sonic boom filled the room, triggering harsh light to flood the stage. The band’s name now dominated the inky screen in massive white letters. In nine seconds, H.O.U.N.D.S. not only grabbed the attention of the “casual” viewer but also set the precedence for the remaining 14 minutes: this band does not fuck around.

Or maybe they do… Taking that heart-stopping intro into consideration; when Lawrence leads the four counts, fans are on the edge of their collective seats. All they need now is Lawrence and Paget to take the rhythmic charge. When Aitken and Taylor throw a one-two punch of huge chords though, the beast busting loose from the cage isn’t the one we expected. It takes balls to open a set of this magnitude with a song no one’s heard before. Based on the production we just witnessed, this pack of rabid wolves now barely ghosts against a red screen clearly has no issue in that department.

‘Die Before You Die’ was H.O.U.N.D.S displaying dominance right out the gate. As Ash Hoy (vocals) entered the fray, his energy electrified the room. “You’re gonna die before you die” sounded massive over the low frequencies. Before moving out of first gear, the band exuded the confidence of knowing they belong on a stage of this size. Frantic energy oozed through the screen; dragging ‘Die Before You Die’ into well constructed yet vicious chaos. With a wildly flailing Hoy as their catalyst, this band didn’t need to be much in the way of movers. The command they had over their instrumentals, unleashing months of pent up aggression with scathing licks and pounding drums was more than enough. Darkly lit stages punctuated by fire cannons and riffs heavy enough to floor you with created the formidable tour de force this band can truly be.

On the back of a downward spiral into barbarity, Hoy paced the stage like a feral animal eyeing up its next victim. Harsh red light bathed the stage. The band hardly visible bar their phantom-like configurations. It’s here we hear the only four words to be spoken the entire set; “This one’s called ‘Shit!’.”

‘Shit!’ had H.O.U.N.D.S completely free of their shackles. The loss of inhibition allowed for an exhibition of savagery registering at a Dillinger Escape Plan on the Richter scale. Regardless of transmission through a screen, the set felt close, to the point of suffocation. Lawrence’s drums had the power to rattle the ribs of any audience member, permitting they were in the room. This had us aching for the live arena more than ever. Aside from shaking bone marrow, Lawrence and Paget dictated the delectable metal groove bubbling beneath the surface of ‘Shit!’. A highlight came in the salaciously heavy breakdown. Riffs reminiscent of Sepultura coaxed H.O.U.N.D.S to be at their tightest, moving as a single unit against the barrage of flames.

Visually, the set was stunning. From the video package to the muddied red and green lights plaguing the stage with darkness, every striking vision had purpose. Did it matter we never got to see what the band looked like? No. The slivers of clear vision that were planted throughout maintained an air of mystique. Striking as Hoy’s stalking silhouette was, it forced our perspective away from the minutia. The dark and brooding bigger picture was a spectacular treat for the eyes.

Until we were plunged into complete darkness. Before the audience had a moment to collectively eye up the router, the intro for H.O.U.N.D.S’ second single ‘Snakes’ slithered through the speakers. Blood red lights flashed into view. The single sounded much heavier than on record. As they powered through the venomous song, H.O.U.N.D.S had us longing to be in the room so we too can be pulverized by the sheer weight of it. If there’s one thing fans expect from a live show, regardless of whether it’s streamed or in front of an audience, it’s that visual of energy being spent by the act you’re seeing. By pouring himself over the riser as he screams, face edging closer to the ground, Hoy lets us know these five men are leaving every fibre of their being, and more, on the stage. Unravelled, the band was shrouded in darkness, allowing the aural spring to coil again. In true relentless fashion, it doesn’t take long for Taylor’s solo to tighten the tension. Fully constricted, the spring snapped. Crushing riffs and militant screaming became a fitting end to an unforgettable and all too short 15 minutes.

Severe red light saturated the stage one last time, leaving nothing but shadows of the band intense enough to leave imprints on the eyes. For a band as small as H.O.U.N.D.S to have produced an arena worthy production when they hadn’t graced a stage of that size is nothing short of impressive. The way these five men asserted dominance, taking control of the space with no trace of intimidation or doubt shows H.O.U.N.D.S are a force to be reckoned with. If that’s what they can achieve without an audience to feed from… we await live shows and mosh pits with baited breath.

The full four hour livestream, including performances and interviews from a number of the billed acts is still streaming on YouTube. The ‘In Solitude’ t-shirt we mentioned earlier is on sale through H.O.U.N.D.S’ merch store now. We also urge you to donate to the fund itself if you’re able to do so. For the latest news from the H.O.U.N.D.S camp, including new releases and tour dates, you can visit their site or follow their social media linked below.