-New Heavy Sounds-

It only took two years for Shooting Daggers to rethink their angle of attack and concentrate their message. Relieve the visceral rage, put an end to the resignation of moving forward intimidated under the overwhelming punk male gaze, and the need  of burning down immediately each figures of masculinity.

Totally positive, the three Londoners deliver to us a fresh and inspiring message. A deal of unity and collective exploit, of organizing together and opening up to no longer let the same social mechanisms crush the same victims.

 “Not My Rival”, the first single from the album, is a magnificent interpretation, a call to empathy and eradication of internalized misogyny in each of us, to break the cycles and the inner man guiding our actions to get queers and women finally united. (“We watch ourselves being watched, an inner man governs the way we act.”).

“Dare,” the album’s opening track decidedly rock with a huge R, is a call for queer pride and acceptance, stop getting overwhelmed, and take the reins of our own life.

With ever more careful production from Wayne Adams (UK based current extreme/electro music producer) “Love and Rage” is anchored in the lineage of this current hardcore scene distilled in the melancholy-melodic palette of the eternal 90’s.

Less frontal and raw than its predecessor, the compositions lean more towards the joyfully-sad groove of a current Turnstile (“Smug” ; “Tunnel vision”) or towards a grungy rock and roll reminiscent of the powerful melodic flights of Narrow Head (the indescribable efficiency of “Smug” chorus).

Or the simple freshness of a “Wipe Out” which serves as a general call for girls to take up skateboarding in order to make this discipline a little less blokey.
When it’s not hardcore that Shooting Daggers finds its resources from, it’s from all the contemplative spleen of US emo. How can’t we think of Title Fight’s “Head in the Ceiling fan” when listening to “A Guilty Conscience Needs an Accuser” where nostalgic and traumatic images merge in the blurry kaleidoscope drowned in guitar reverberations. Or to the Bostonians of Fiddlehead and their indie flashes through “Love and Rage”, an eponymous piece more imbued with postivity and resistance.