INNOVATIVE and forward thinking, Hector Bizerk are a band who are constantly looking to diversify and expand upon the eclecticism and social commentary that they’ve became known for. Providing their listeners with an insight into life in Scotland’s cultural hub of Glasgow and often profiling the varied people and social situations that are encountered, they have ingrained themselves in Scotland’s consciousness with their gritty and poignant compositions. After an incredibly productive year that saw them release two well received EP’s, they drop the new record The Bell That Never Rang.

Beginning in the manner of Roots Manuva’s dub influenced ‘Chin High’, ‘Skin and Bone’ sees Louie utilise a number of vivid and imaginative metaphors to express his succinct points over a myriad of percussion. Utilising incredibly effective wordplay to segue from one concept to another, the deft way in which he shifts from one line whilst interlinking it to the next is to be commended. For example, lines such as ‘I’ll be the public enemy when the crisis hits, Chuck D-eodorant into flames’ is sure to delight hip hop heads. Culminating in a frenzy of drumming from the acclaimed Audrey Tait and disorienting synths, it is an incredibly effective intro for an incendiary EP.

‘Festival Boy’ follows, beginning in a setting that is all too familiar to music fans. Lamenting over Drambuie doubles and searching for an equally depraved and hangover partner, Louie soon finds himself spouting musings in regards to the state of our nation before resuming his biographical account of the festival experience. Its chorus is incredibly catchy, encapsulating all of the many dangers and temptations which are perpetually on offer at such events before a bluesy organ reminiscent of the classic Hammond sound emerges; further lifting it above the ranks of a hedonistic rap song.

Presumably named after one of True Detective’s protagonist, ‘Rust Cohle’ sees Louie on aggressive form over a riff that could have been plucked from the catalogue of modern blues pioneer Gary Clarke Jr. Yet again, his impeccable word play sets him head and shoulders above the current crop of Scottish hip hop purveyors, combining ‘Alcatraz’ and ‘alky Dads’ in a manner that is certain to provoke thought and glee in equal measure. His range of subject matter and cultural references are almost encyclopaedic, utilising social injustices such as Apartheid and the ongoing persecution of Gaza’s citizens alongside troubled footballers in an organic fashion.

Ending in cathartic fashion, ‘Best Man Speech’ finds the rapper in the throes of a moral dilemma as to whether he should reveal his Best friend’s bride for her many indiscretions. Building to a frenetic pace due to its persistent and prominent drums, respite is provided by the vocals of Christopher Willat upon its chorus. Referring back to the track’s intricate drum work, it instills a sense of urgency within the listener as they listen to Louie’s troubled thoughts as he veers erratically from childhood memories to the pressing situation with the skill of a wordsmith beyond his years. Removing all traces of instrumentation for its climax, its last lines provide a suitable climax to an EP that both that examines the nature of modern existence; from its dizzying highs to the everyday struggles faced by the masses as they traverse through life.

Managing to meld captivating lyrical content with inherently joyous instrumentals, Hector Bizerk have once again exceeded everyone’s expectations and epitomised why they are such a refreshing outfit within modern music.