Exuding the same kind of swag that made early Queens of the Stone Age recordings so exhilarating yet retaining the experience of later offerings, Waste A Saint’s sophomore album exhibits the kind of sonic mastery often found in artists developing their fifth or sixth album and not one barely two years out from a debut full-length. But here we are with Ravenous in all its’ glory ready to regale you with some sleek tantalizing tales in the language of Rawk.
“Schizofrendia” starts off the RAWK not only with a capital “R” but also a killer song title that’s almost as cool as the riffage that Alexander Skomakerstuen brings alongside soaring vocals from Bogey Stefansdottir and a proper rhythm section thumping from drummer Øivind Fossem and bassist Ole Nogva. “Sore Spot” moves at a certifiable fervor with Stefansdottir’s croon at the shreddy forefront as Fossem pounces with the percussive prowess and speaking of shreddy, “C.M.T.L.” has all of that and then some during a track that’s vicious and snarly with some barking background vocals thanks to Sondre Sørensen Brønstad that offset Stefansdottir and a glorious bass breakdown from Nogva.
“Femme Fatale” is the first to let up on the pace but still manages to be a barn burner with the way the sounds swell while “Dryads” goes gargantuan and delivers Waste A Saint’s version of a stadium anthem. “Broadside (The Simultaneous Discharge)” dials into that magic that made Melissa Auf der Maur’s foray into Desert and Doom so frelling astonishing, “Avoid my Wits” is a majestic epic that excels due to exquisite songwriting and stellar performances across the six minute and change rumble, and “Aeronaut” is a slow burn that steadily unfurls with an electric ebb and flow.
Ravenous drops on March 1st on All Good Clean Records. Get yer pre-save on now when you click here and for more from Waste A Saint, follow the socials by heading here or here.