After their formation in 2019, Ash Red have amassed over 70 shows on Cork’s live circuit and boasted a supporting slot for post-punk juggernauts, Public Image Limited. With their blend of angular instrumentation sitting atop raw but meticulously crafted soundscapes, the Irish three-piece are rapidly emerging as one of the country’s most promising punk exports.
The recent release of their debut album, ‘The Foreign Game’, via Blowtorch Records, is the most damning evidence yet that Ash Red are an unrelenting force to be reckoned with.
Consisting of vocalist and guitarist Arthur Murray, bassist Tadhg O’Keefe and drummer Isaac Walsh, Ash Red’s debut is not only triumphant, but also a crash course into the possibilities of modern post-punk. ‘The Foreign Game’ sees the band successfully managing to grapple the feedback frenzy of The Jesus and Mary Chain, Gang of Four’s unnerving swagger and the spiky yet vibrant energy of The Cure’s debut, into one bold, blistering package.
Opening with the fleetingly furious ‘Take Me’, Ash Red immediately inducts the listener into a labyrinth of dark, driven rhythms. With Walsh’s cacophonous percussion and Murray’s John Lydon-style snarl being unleashed from the very first beat, ‘Take Me’ harnesses punk’s hallmark brevity.
Throughout 'The Foreign Game’, Ash Red continuously demonstrates their mastery of dynamic tracks that accelerate as quickly as they soften, lulling listeners into a false sense of security before throwing them under the bass-driven bus.
Such a feat is shown with the dystopian, feedback-drenched ‘Hopeless’ and the sonic surges of ‘Just Words’ , yet the most explicit representation of the band’s command is found within ‘Db Cooper’. The first single to be lifted from the album, it follows the story of the infamous plane hijacker of the same name, all while bursting with gritty vigour. It is an early yet effective masterclass in tempo manipulation set to a rippling backdrop.
The album also treads down more shimmering paths. For example, 'Friends?’ marries jangling, chiming guitars with pulsating bass riffs that sound straight out of the Peter Hook playbook. Originally released as a single in October, it's a spectral narration of fragile relationships, with Murray’s vocals appearing particularly emphatic.
A notable standout is found in their third single, the brooding ‘Control’. Opening with itching percussion, the track progresses into a gloomy, dense sonic environment, with the guitars sounding almost mournful as the lyrics explore increasing hopelessness. The single spins in a potent post-punk orbit, which is both abrasive and wonderfully accessible.
The title and closing track is an unshakeable demonstration of the band’s craftsmanship. Burgeoning with fizzing feedback reminiscent of The Jesus and Mary Chain’s ‘Honey’s Dead’, ‘The Foreign Game’ brims with a similar sharp attitude. Abrupt vocals meet thunderous percussion and are then only further emboldened by a riotous undercurrent of bass. As album parting notes go, ‘The Foreign Game’ is particularly victorious.
With their debut, Ash Red have delivered an album that successfully toes the line between being both introspective but brilliantly imposing. ‘The Foreign Game’ is 35 minutes of pure, unrelenting force, aggravated artistry, and searing instrumentation, whilst acting as a confident declaration from the Cork three-piece.
Ash Red have upcoming dates in both Galway and Cork; tickets can be found here.