Buy the new split 7" w/Bowerbirds at www.repressedrecords.com/
The Holy Soul's 'I'm Spent', from their forthcoming album, 'Damn You, Ra', will be on a new compilation called 9, also starring Talons, Ghosts of Television etc.
Bookings: [email protected]
Snarling guitars with lazy bluesy vocals one minute and filthy fuck-off rock n roll the next – Mar Garvey, Drum Media
THAT'S ALL 7" (SIN021) PRESS
In Australia, at least, there’s a constant flow of average garage bands laying blooze lix over their carefully crafted retro rock sound and because it’s such a classic combo, it somehow doesn’t cheapen everyone too much. It sure as shit makes you appreciate the bands that do it well, though. Like The Holy Soul. The big win here is that they sound like they know what punk is. It’s raw and low tech, swaggering in a way you don’t quite believe, which works out better because bravado and a forced game face are way more interesting than actual tough talk - Max Lavergne, Rose Quartz.
SIGN OF THE TRIANGLE (REV023) PRESS
’Triangle’ has all the dirty twang of the blues and country meets punk formula of the Gun Club and The Scientists, but it doesn’t live in the grimy shadow of its influences – Justin Norrie, The Age
There is a darkness on this album that will appeal to fans of the Beasts of Bourbon and The Drones, but The Holy Soul are very much their own band – Chris Scaddon, J-Mag
Top 10 LPs of 2005 - Murray Engleheart, Drum Media.
The Holy Soul’s debut long player has plenty to commend it…'Mary’s Tainted Lemonade' proceeds from a simple power strum that owes more than a nod to Link Wray’s Rumble into a potent angst-and-acid ridden slurry of guitar and feedback – Patrick Emery, Beat
Very convincing, very dark and very alive – i94bar
There’s such a naked and bleeding immediacy to what’s caught on disc that it’s hard to resist – Luke Martin, Fasterlouder
An evocative record offering vague traces of everything from Howlin’ Wolf to Link Wray to Neil Young to the Birthday Party – Arlo Stecyk, Blunt
Storms through your ears and kicks the furniture around in your brain. Mad, sad and bad in a very good way – Daily Telegraph
Le dernier disque Australien que j’avais eu en main se nommait the Bad Machines et distillait une pop electro proche de Nelly Furtado. C’était de la pop, mais pas de la pop australienne, pas de la power pop. Je ne sais pas pourquoi je dis ça puisque Holy Soul ne font pas non plus de la power pop. Ils font MIEUX! - Le Blob (Morlock), Every Day Is Like Sunday
It amazes me that something so generic exists. I struggled to get to the end of this without jumping out the window, but then again country isn't really my forte. I challenge someone to make an interesting country album, something original, something with heart that didn't just fall out of the stencil. I can't even fathom people sitting around in a room patting each other on the back after making this kind of music, let alone people listening to it. Try harder -The Buzz
LOVE HAS LEFT THE CITY LIMITS (REV007) PRESS
The Holy Soul pulled it off with ‘Jesus Caught the 5.19’ on Illustrious Artists’ stunning sampler ‘Playing Favourites’, and none of the other four songs on this EP suggest it was a fluke – i94bar
’Psychotic Notions’ gets near the essence of The Holy Soul live feel, the messy self production gives it a murky garage punk feel – Blunt
And just as you’ve settled in that drawl with a reverb twang – and there have been few better examples of that in the last half-decade than the already previewed ‘Jesus Caught The 5.19’ – thinks crank up to get really messy with ‘Psychotic Notions’, complete with the perfect running-out-of-breath harp solo – Drum Media
DAMO SUZUKI NETWORK PRESS
Annandale Hotel, February 2008
Seeing Damo Suzuki perform with a new band is akin to watching an open paint tin thrown into the air- your breath is held in suspended panic, waiting to see where the paint inevitably lands and sets. Friday was an evening of formless improvisation and interlocking moods, held together by backing band The Holy Soul (who, by the way, are about as tight as is possible without imploding). Suzuki, hardly a diminutive-looking stage presence, drew us to his world with his beautifully indiscernible words and an unrelenting web of melodies and chaos. Alternating between crystal-sounding words sung with unrivaled passion, and yelling at us in a faux-death metal tones, Suzuki proved to be one of those ridiculously versatile vocalists that most frontmen wish they could touch - Josh Gibbs, Fasterlouder.
Hopetoun Hotel, February 2009
They started gently, on Suzuki's signal, with a slow atmospheric hum underpinned by extraordinary drummer Kate Wilson and punctuated by electronic artist Peter Newman. It was a tidal thing, the music building, receding and overlapping. They seemed effortless in their togetherness, moving separately to make one evolving sound, but don't misunderstand me, this wasn't a soft or safe experience - Dale Slamma, Liveguide.
