EP Review: Bruise Control - Bruise Control
Reviewed by Dan Barnes
Occupying a musical space somewhere between 80’s Hardcore and 00’s indie rock, Manchester DIY punks, Bruise Control, have been spitting bile at the state of the world as they see it for some time now, attracting the attention of bands such as Amyl and the Sniffers, Press Club and Civic, as well as finding themselves on festival stage at 2000 Trees, Beard Theory and Rebellion and, of course, the TNS Records annual spring celebration: Manchester Punk Festival.
The band’s new record is another self-titled release, following on from the four-track EP of 2019, 2026’s edition is six-tunes in which Bruise Control tackle ideas of apathy, anger and the daily struggle to survive in an unforgiving world seemingly devoid of any hope.
Clocking in at around fifteen-minutes, or so, the EP wastes no time in laying out the issue at hand. Be Like You comes in with a fat bass and jangly guitars, revealing a punk attitude with its raw and aggressive stance. In fact, those vibes colour the whole of the experience, as it feels as though the Bruise Control lads rocked up to the studio, plugged in and this is what happened. Left Behind has an even more stripped back sound as it mourns the loss of communities torn apart by ‘progress’ – whatever that means – and does so in a defiant and confrontational rage, combining an indie feel with a modern punk sound.
Yet for all their ire and angst, both tunes aren’t without a danceability at their cores. It’s as if the resultant demolition of communities can only be countered by the indomitable nature of the human spirt, finding joy among the tragedy.
If You’re Not Mine is the most musically aggressive tune on display, with the combination of blistering drums and spat vocals, it offers no respite from the society collapsing around us; Gone to Ground is built on the foundations of an edgy riff and a scream-a-long chorus, as we all become King Lear, raging against elemental forces far beyond our control.
The raw and unpolished production is a perfect blend of style and substance, allowing the music to grow in momentum and immediacy, reminding all who hear of the urgency of the situation.
Spinner’s Mill is the closest to the Indie sound of Bruise Control, though it isn’t without a ferocious intention but it’s the closing, and longest, track on the EP that really stand out for me.
Jumping Ship is the lowest tempo tune on offer, but it certainly isn’t the runt of the litter; rather its simmering resentment can be heard in every note, submerged just below the surface of the tune. There are even some Oi!-like tendencies audible, and the earworm riff in the final third means Bruise Control 2026 draws to a close while leaving itself lodged firmly in the mind.
Previously a trio, this EP is the first-time vocalist, Jim Taylor has committed himself to tape in the Bruise Control cause, and the energy sparking from the quartet on these half-a-dozen tunes suggests a long and successful future for Bruise Control.
Only problem will come if suddenly everything gets better and there’s nothing to be angry about; but I can’t see that happening anytime soon, can you?
