Fancy a cheery little EP full of sunshine and flowers? Well, move along, for this second EP from London quartet The Miser has nothing to smile about. Well, that’s not strictly true; the five songs that the band have eked out are rather splendid. Indeed, only a month into 2023 and the quality of music that is coming out is off the scale and The Miser, comprising vocalist Sean Crocker, guitarist Scott Haslett, bassist Matt Hull and drummer Dan Danby can hold their own.
Taking their name from the Hieronymus Bosch painting Death and the Miser, it’s apt that the reminder that death comes to us all is the title of this EP. Themes of horror, mental health, and loss seep through the songs, with the band drawing on their own life experiences to bring you an honest, from the heart collection of music.
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The riff dominates. Unsurprising for a band whose roots are very much deep in the stoner sound. “House on the Hill” which opens the EP is a huge example, with chunky, fat fuzz from the off. It’s exactly what I want from my stoner, huge slabs of Sabbath riffs, the slightly eccentric vocals and harmonies of a sort on the choruses. Throw in some chaos on the drums and a filthy bass line that pumps like a 16-year-old teenager and it’ll do me fine.
The songs are infectious, digging into the memory banks with hooks that refuse to release. You can sing along quickly, but there’s plenty of care invested in this EP. The band are tight, locked in together. “A New Dream” certainly demonstrates that this is the case, even if they do veer almost obscenely close to the Sabbath side on a couple of occasions … but what the hell, we all love Sabbath after all!
Although The Miser follow a determined pathway, they have a unique style that ensures that their style is instantly recognisable. They do of course have multiple influences from Graveyard and Kadavar to Trouble and even Budgie, but they’ve managed to do something that not that many bands do – establish their own identity. The echoing “Scars” is followed by “Yeah, We’re Back” which sees the band kick back and open the throttle with a track that would be suited to the desert highway. More massive riffs cascade forward, and there is a strong urge to shake the head as they rain down. It’s a demonstration of some solid guitar work as well, with a screaming solo that rips out of the speakers. It’s almost impossible not to nod along as it rampages along.
Another change in style sees the title track bring the EP to a close in a trippy, psychedelic vibe which is spellbinding despite its obvious Sabbath feel. The jazz style breakdown confirms this.
The Miser are a band who have plenty going for them. Sure, they wear their influences on their sleeve, but so do most bands. There is certainly enough in the thick riffing and thunderous drumming to spark the interest. With a certain beguiling edge to their song writing, the London outfit have produced a cracking EP which I would recommend to all.
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Memento Mori is out on February 3rd
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