PIJN AND CONJURER join forces for mutual mayhem.
Curse These Metal Hands
HOLY ROAR Odd bedfellows make a joint, evolutionary leap
The combinaTion of Manchester post-rock collective Pijn and the Midlands’ premier rifflords Conjurer has been an enticing prospect ever since their inaugural performance at last year’s ArcTanGent festival in Compton Martin. That initial showing, excellent as it was, provided a mere teaser for the delights this collaboration has in store, which have been brought to fruition magnificently with their debut LP, Curse These Metal Hands.
The most obvious point of comparison on first listen is Baroness, specifically the sludgy but jubilant riffs found on the Savannah, Georgian quartet’s Red Album. But other influences become apparent with further listening; the sheer joy that emerges from the harmonised guitar histrionics of High Spirits recalls
Thin Lizzy at their most jubilant, while the unusual time signature and twisting opening riff to The Pall wouldn’t sound out of place ringing out from the strings of Tool guitarist Adam Jones.
At just four songs the album may appear a little slight, but when you consider that three of those four almost reach or exceed the 10-minute mark, it would seem somewhat petty to feel shortchanged. They naturally progress through a range of different moods and styles to provide an eclectic half hour that is full of nuances and subtleties for the listener to unpack.
On the one hand, Curse These Metal Hands is the sound of two of the UK’s best underground heavy bands getting together and having fun, but on the other hand it’s also so much more than that – a collaboration that allows both bands to discover and explore new facets of their own individual sound. Curse These Metal Hands will likely see both Pijn and Conjurer improve immeasurably going forward as a result, and considering the sheer quality already on display from both bands, that is a truly exhilarating prospect.
Baroness, Thin Lizzy, Tool