Album Review: Everybody Come to Church by Evil Blizzard

Trepidation and curiosity are two things that I can often approach an album with but rarely has it been in the quantities that come with Evil Blizzard’s Everybody Come To Church. That’s because Evil Blizzard might just be the weirdest thing to come out of Preston since we started having a funeral procession if a football team got relegated (although local band Hello Bamboo might/probably have something to say about that). Still, while Rae Morris might have very strong links to the city, Evil Blizzard represent our only real shining light on a national level.

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Deeply weird weirdness baked to perfection. If Banksy were to pick a house band for his (her? their?) Dismal and theme park exhibit, he (she? they?) could do much worse than to enlist the enigmatic Evil Blizzard, a band thrumming with dystopian menace and madness. ADVERTISINGinRead invented by Teads .

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As displayed throughout Everybody Come To Church, the second album from Preston's masked purveyors of aural terror, Evil Blizzard successfully engage in much straddling without actually ever sitting on the fence. Their sonic template draws from both the post-punk pioneering of Public Image Limited and the anarchic psychedelia of Hawkwind without relying too heavily on or the other; they balance the onslaught of their live shows with an ability to use the studio to their advantage and crucially, they don't so much write protest songs as make sharp social observations that refuse to freeze or date them. Moreover, sticking to their delivery of four bass guitars and a singing drummer, Evil Blizzard have managed to transcend what could be a constricting modus operandi into a weapon of sheer force and power.

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