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Picture this: Bono; Trent Reznor; Martin Gore; Al Jourgensen. Get a human sized blender. Blend. Pulp. Mash. Add a shot or two to sweeten the taste, a dash of strutting, some swagger. Pour. Cook till a choirboy's balls drop. Serve up in a glam-tinged sonic brew of utter potency. Imbibe and you will have - Killaflaw and their new EP 'Broken Idol'.
This is a flip-side affair. You have the undiluted thrill of the one-two of the title-track and its successor 'Milk and Whiskey'. Turn over and you have two beat-blasting remixes by DPPLGNGNRS and Freq Nasty. Hit these up at your leisure for further aural pleasure. Beats the size of tsunamis pulverise you into the ways of Killaflaw. There is an industrial undercurrent, but 'Broken Hands' isn't suffocated by the introspective sludge that often inhibits the genre. This is largely down to the stadium-sized vocals of Benn Helm; not since Chester Bennington has someone had a set of pipes so raw yet so accessible. If there is a fault to 'Broken Hands' it is only that it goes by too bloody quickly. A potent brew, a punishing delight of ultrasonic, Megatron-sized phaser blast. No less intense but with possibly an even more massive hook is 'Milk and Whiskey'. A near symphonic, melodic cacophony bleeds you in. It has a rich, broader feel, Helm's vocals have a 25th Century Southern-rock inflection. In fact the whole song is a twisted cousin to some Southern swamp, moonshine-soaked lost classic. It has an irresistibly that cannot be denied, like Carmen Electra dipped in that 'Milk and Whiskey' (or who/whatever twists your melon). Killaflaw beat you into submission in glorious style and will have you aching for more.
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