The collection is as serious as it is playful, as timid as it is outrageous and as together as it is broken.

Since reopening the live music scene with the first full-capacity show post-pandemic, Opus Kink have cemented a reputation as one of the UK’s most powerful new bands. Following 2022 debut EP ‘‘Til the Stream Runs Dry’, they now let fly with followup, ‘My Eyes, Brother!’ The seven-track collection continues down the band’s own sordidly gloomy path, offering poetry-infused melodies, churning guitars, groaning horns and pounding drums.

Opening track ’Chains’ is a blistering start, unceremoniously dragging us into the madcap world of Opus Kink. Drums and bass take the spotlight, dancing amongst one and other whilst guitars and keys fight for position among the groove. Vocals are tossed forth in a raspy call and response, and once horns lock into the song it begins to fully descend towards madness. ‘Dust’ follows, further imposing the wild aura of the six-piece with its loose attitude and heavy approach, every note and scream from lead singer Angus Rogers pulling you further into the rabbit hole.

‘Children’ is exhilarating, bringing electronic elements to the forefront whilst keeping a firm sense of direction towards the highly energetic. It is only when we reach a short jazzy instrumental entitled ’Tin of Piss’ that we receive some degree of succour in its downbeat mood. This respite does not last long, however, as ’Tin of Piss’ bleeds into the next number, ‘Malarkey’. This dark and unsettling track reaches into the shadows of your mind to churn up memories and passions long suppressed but stubbornly alive.

The range of music and emotions presented on ‘My Eyes, Brother!’ are just as serious as they are playful, just as timid as they are outrageous and just as together as they are broken. Opus Kink wield the power to drag you down to pick you back up at will, sending you on your way hooked on a sound. Penultimate number ‘Piping Angels’ maintains the lively attitude bursting at the seams with direct guitar, choppy keys, wailing horns and thundering drums. Rogers’ vocals are gripping, sometimes sung, sometimes screamed and sometimes spoken, a pattern continued into the furiously primitive closer ‘1:18’. Ending on this messily distorted sentiment, the EP is guaranteed