A group that have courted a great deal of attention on both sides of the Atlantic, Glasgow’s Holy Esque have caused quite a stir in the several years since their inception.

Marking out a niche of their own with their mesmeric and at times engulfing sound, the release of single ‘Fade’ last month ushered in a new era for the band’s sound and piqued interest for their EP Submission. 

Released today, the EP is a quite a feat; bounding into the world as a record which will take hold with a vice-like grip and leads the listener on an intense and compelling journey from track one all the way to track four.

Capturing the intangible magic that emanates from their live performances like never before, opening gambit ‘Fade’ tows the line between sneering post punk indebted aggression and more blissful and poppy aspects. Underscored by surging bursts of dense electro pop that seem fraught with a sense of uplifting optimism, its more chirpy moments shroud themselves in impenetrable shadows; all of which assists in the opener becoming nothing short of a riveting listen.

Touching on the art pop style of bands such as Django Django and Dutch Uncles with its recondite percussion and looping guitar, ‘Gulf’ is defined by the engrossing vocals of Pat Hynes, who sounds absolutely feral throughout. Operating in a realm which is situated somewhere between WU LYF’s Ellery Roberts and the maniacal and distinctive style of Iggy Pop, he certainly comes into his own on this valiant EP.  Subdued at the outset in comparison to its eventual conclusion, an avalanche of noise assaults the listener; inundating the track’s foreground with erratic, new wave style synth and foggy guitar lines.

Bursting into life thanks to stadium sized drums and a murky riff the likes of which The Birthday Party and Killing Joke would be quietly envious of, ‘Strange’ stands out as one of their most hypnotic works to date. Helmed by deep seated synth that is nothing short of icy, the track comes across as unashamedly ambitious and has the capacity to spellbind anyone who comes into contact with its many redeeming qualities.

Perhaps taking their cue from the atmospheric and anthemic recent output of Twin Shadow and Future Islands, ‘Throne’ invokes emotions such as bitterness and ecstasy as though they were familiar bedfellows in a befuddling but ultimately enjoyable manner.

Previously aired to the masses via their electrifying set on Seattle’s KEXP, the track has came on leaps and bounds even since then. the composition’s luxuriant riff and effective use of tribal style vocals sound humongous in this form, making for an absolutely essential listen for anyone who’s even had a passing interest in their output to date.

There is a contrast which surges through the lifeblood of this release; one which sees them dangling in purgatory between the overlying menace that is portrayed more directly and the mildly triumphant nature that manifests in certain aspects of its instrumentation. Whilst the two major ideals that are conjured up and brought to the forefront by the music may seem at odds with each other, Submission documents Holy Esque as a group who are not only willfully striding into any genre they see fit, but toying with the boundaries of what is to expected from them and any band of their ilk.

If you’d became aware of the raw potential that had slowly been nurtured in their 2014 releases such as ‘Silences’ and ‘Sovereign’, prepare to bear witness to it in all its fierce yet calculated glory on Submission; their most impressive release thus far without question.