RAW, thought-provoking, trailblazing, innovative, experimental and ‘one of the country’s finest live acts.’

These are all tags that sum up Scotland’s premier hip-hop outfit Hector Bizerk; the group that have elevated this nation’s incarnation of the famed genre from an often criminally overlooked niche market to something which is now becoming an integral aspect of our musical complexion. 

One label which is yet to become synonymous with their moniker is ‘crossover stars’, a definition which would serve as an indication that they’re now ready to bring their inventive and progressive material to the masses like never before and gain the adulation that such momentous music truly deserves.

For anyone that gets the opportunity; nay the privilege to check out new EP The Tree That Never Grew (limited to 200 physical copies with no plans for an online presence), it’s sure to dispel any doubts that they’re capable of stepping up to such a lofty mantle.

Louie’s righteous proclamation of “no human is illegal” is the first statement that we hear on the record’s title track and it is one which holds tremendous power in its simplicity, demonstrating that Hector Bizerk are not willing to stand by and watch the unjust persecution of refugees that they see transpiring before their eyes to continue and seek to not only entertain those who choose to listen but enlighten.

Built upon swathes of breathtaking guitar courtesy of RM Hubbert, the ever awe-inspiring percussion of Audrey Tait and gorgeous backing vocals from Bella And The Bear’s Lauren Gilmour, Louie takes aim at everyone from the ignorant bigots that look to exacerbate the humanitarian crisis to Rupert Murdoch’s “sly as fuck” Fox News as well as defiantly labelling himself a ‘hip-hop James Connolly.’

Splashed with driven basslines and poignant organ, ‘They Made A Porno On A Mobile Phone & Everybody Laughed” is a cautionary tale for the modern age which looks to  highlight the inherent dangers that have emerged in an era where technology interjects itself into our lives at every turn.

Touching upon the hazardous nature of our deep-seated longing to fit in as Louie spits “He made a film with her pants down, he felt like one of the lads now”, it’s a public service announcement to warn of the digital footprint that every move leaves in your wake. Featuring a stoically delivered vocal performance from Pronto Mama’s Marc Rooney on the chorus, the track sees Louie adopt a storytelling style that recalls MC’s such as Slick Rick, The Pharcyde and Immortal Technique in order to put the track’s message across in a truly hard-hitting fashion.

‘To Be Honest I Lied’ is a disorienting affair which centers on penetrating, glitchy synths, menacing bass and the omnipresent percussion which defines their refreshingly unique sound. Purveying a barrage of masterfully crafted rhymes that epitomises precisely why Louie’s reputation as a wordsmith grows by leaps and bounds with every single release, choice cuts from the track include “never been to Sub Club, always been in the starting eleven, pick apart your religion” and “memory lane with dementia, I am a forager searching for scraps under pressure.” On account of its scathing rhymes, abrasive instrumentation and nihilistic chorus, ‘To Be Honest I Lied’ feels as though it may be a less impudent twin of The Bell That Never Rang’s ‘Rust Cohle’ yet comes across as no less engaging.

Mockingly adopting the dishonest tone and patronising rhetoric of the A&R’s and management that can be found in major labels, ‘Empty Jackets’ sees Louie take aim at those who wish to exploit the band’s art for financial gain and wittily dispels any notion of succumbing to the lure of their deceptive promises. Experimenting with exotic percussion as the preposterous claims of nefarious corporate figures are outlined and subsequently ridiculed, the inclusion of Be Charlotte upon the track’s chorus is an inspired choice and adds another interesting dynamic to the EP’s overall sound.

Solemn and mournful in tone, ‘I Can’t Be Saved’ expounds upon ideals of self loathing, the ravages of substance abuse and helplessness over what is initially a sparse musical backdrop before building towards something more substantial. With Pronto Mama’s Marc Rooney reprising his role on vocals, it seems as though it may be building toward a triumphant, empowering finale before harsh, despondent piano brings things to an unsettling conclusion.

On The Tree That Never Grew, Hector Bizerk have once again proven their vitality and the fact that they still have such a wealth of creativity at their disposal upon their third release of the year is nothing short of staggering.

This outrageously talented band have all the potential, drive and genuine understanding of precisely what makes them such a special proposition to bring their music to the masses and also instill some much needed social commentary to today’s dishearteningly superficial landscape. Willing to operate on their terms and theirs alone, it’s genuinely hard to imagine that anyone that has the pleasure of listening to this EP won’t be absolutely riveted from the seething opening moments to its moving final strains.