Returning to the scene post-release of their spring of 2021 mini-album – Vampire, their stand alone vitriolic saboteur single ‘Uppercut!’, as well as the crushing loss of not only Saint Agnes longtime bassist Ben Chernett, but also the devastating untimely passing of Kitty Austen’s beloved mother. Saint Agnes sought the purgation of emotional burden as they manoeuvre through the agonising stages of grief, endeavouring to stand in solidarity with a community of bushed and beaten souls readying their arsenals against those who’d seek to eradicate nonconformists.
Sampling Saint Agnes’ overload of individualistic pride, it’s fierceness struck this listener as an inherently intense listening experience especially when comparing it to their previous releases, having also had the pleasure of attending their live shows during both the early-Bloodsuckers and Vampire era’s.
Highlights of Bloodsuckers’ obviously includes that of the albums dominating namesake track, their celebratory heretical gothic rock anthem ‘Outsider’, but also three more audible explorations that have truly captivated our attention.
‘I Mean Nothing To You’ is the epitome of deserved antagonism with its Urbanised Hard Rock sensibility, especially as Kitty fervently exclaims ‘Fuck your shit up instead…’; when we experienced ‘I Mean Nothing To You’ live at the Black Heart in Camden back in April, perception of their showmanship of the track seemed to border somewhere between combatively enlightening and cathartically alarming.
‘This Is Not The End’ is possibly one of the most candid audible powder kegs to ever be produced by this fascinating quartet; its emotionally lead Electro-Lite Blues Rock essence enveloped by ambient echoes of childlike memories reminiscent of Eels ‘Elizabeth On The Bathroom Floor’ is deeply moving, even without being informed of its inspiration deriving from Kitty not only processing the death of her Mother, but also expressing the depth of her adoration for her. The bravery displayed across this track’s hauntingly solitary presence is an enthralling marvel unlike any other addition to Saint Agnes’ discography, one of which this band and especially Kitty should be immensely proud of.
‘Animal’ presents itself as the ultimate embracement of the villain era, with an Industrial Trash-Metal feel shaken into an intoxicating hold of not only dark femme energy, but a palpable rage delivered in such a way that we’re sure could instil fear in the hearts of grown men; listening to its aural bombardment is sure to empower any and all who have fought against tyrants who seek to oppress and erase those who don’t fit their acceptable mould of our archaic society. ‘Animal’s construction is layered, incredibly catchy, arousing in a deliciously mischievous way, that has the ability to enliven our shadow self in the most satisfying of fashions with every guttural scream littered across this truly astounding oppositional ode.
As no stranger to instances of morbidity entangled in cathartical mania when appreciating the complexities of Saint Agnes’ dominating truths; this latest exploration which is filled to the brim with deeply turbulent thoughts, feelings and desires is a welcomed outburst of mirroring fascination, which brilliantly executed the tenacity of the human spirit. Such prowess in the sanctity of fury and self-determination is a recurring fondly held conviction in SA’s long appeal to the misfits of social acceptability; Bloodsuckers is the reminder to all that the embracement of our uniqueness is key to our survival, the accessibility of our true selves and our chosen family. It’s resounding message of hope, toughness and unyielding personality is the cornerstone to keeping our love alive and most importantly stressing, that although we may be bruised, we are nowhere near broken.