Echo Scale™: ★★★☆☆ (3.4/5)
If there’s ever been a band that embodies the battered industrial North, it’s Grimsby’s own Church of Lies. Their 2025 EP Crack is Sold Here is a four-track statement of intent—equal parts heavy, unpolished, and unapologetically bleak. Formed in late 2014, Church of Lies (Jason Gostelow on guitar, James Steer on bass, Dan Hutchinson behind the kit, and Andrew Darwood on vocals) have built their name on a heady fusion of groove metal, doom, sludge, and hardcore, all delivered with a side order of absolute chaos.
The title says it all—this is music made in and for a country that’s falling apart at the seams, and the band isn’t shy about letting that bleakness seep into every riff, every growled lyric, every thunderous (if slightly soup-like) drum hit.
New Plague
The EP opens with “New Plague,” a track that’s structurally strong and packed with good vocal hooks. Right away, though, the production quality jumps out for all the wrong reasons: if you’re familiar with Church of Lies’ earlier releases, especially the cleaner 2015 work, you’ll notice just how muddy and murky the mix has become. The snare drum is particularly dull and lifeless, robbing the track of punch, and the overall clarity is sacrificed for a kind of lo-fi haze. That said, the song itself stands up—great structure, creative vocal lines, and a wonderfully weird section of chanting and mumbling over the guitar solo. It’s engaging, if not always easy on the ears.
Kill the Rish
“Kill the Rish” lurches out of the gate with intent, dropping into a groove that’s both menacing and moody. Here, the hi-hat pattern is a bit all over the place—timing issues mean it never feels entirely secure, and it does sap some energy from the main groove. Still, the atmosphere is undeniable. The production again raises eyebrows, with the drums sounding like they were tracked in another room entirely—distant, almost ghostly, which is an odd choice given how much power the rhythm section should be bringing. But persevere, and you’re rewarded: the guitars absolutely rip, the bass rumbles beneath everything with real authority, and the vocals bring the perfect level of scream and grit. There’s movement and aggression here, making it one of the EP’s highlights despite its flaws.
Dame Judy
Track three, “Dame Judy,” boasts a guitar intro that instantly grabs attention—fuzzy, fierce, and classic Church of Lies. The guitar work continues to impress throughout, but yet again, the production on the drums lets the track down. There’s no top-end definition, especially as the song ramps up, and all the intricate playing on the kit is lost in the sonic murk. It’s a genuine shame, because the energy is there, and you can sense the band pushing themselves. The guitars save it, driving the track forward and making sure you remember the name, even if the mix makes you work for it.
Alleyways of War (Re-recorded Version)
The re-recorded “Alleyways of War” closes the EP with a slow-burning, atmospheric build that leans into the band’s doomy side. The mood is thick, and the tension is real—a solid opening that gives way to a groove that feels slightly awkward, almost deliberately uncomfortable. Whether by design or accident, this off-kilter groove keeps you on edge, which actually works for the subject matter. Once more, the guitars and bass are outstanding, offering grit and weight, while Andrew Darwood’s vocals channel all the grit and frustration you want from UK metal. The only recurring flaw is the mix: it still sounds as though it’s coming from underwater, or recorded in a bowl of soup. Underneath the murky production, though, is a seriously strong closer.
Final Thoughts
Crack is Sold Here is the sound of a band refusing to hide the rough edges. Church of Lies are all about real-life grime, and they channel that into their songwriting and performance. Yes, the production is rough—even fans of DIY will find moments where they’re longing for a bit of clarity—but the spirit and intention behind the music are undeniable. If you want polished, look elsewhere. But if you want honesty, heaviness, and music that sounds like it was born in the heart of the UK’s post-industrial ruins, this is it.
Echo Scale™: ★★★☆☆ (3.4/5)
Give it a spin on Bandcamp or Spotify, and support your underground.
