Bānhūs

Combining elements of prog, post hardcore and even post punk, Eleventh He Reaches London are one of the more unique bands in Australia’s independent scene.

Coming off the back of their sophomore album Hollow Be My Name, the progressive rockers have garnered some much deserved recognition outside their city of origin in Perth, returning with their third full-length album, Bānhūs.

Rarely does a band create such powerful atmosphere on record, evoking a parallel sense of sincerity and dread.

This juxtaposition acts as the album’s selling point, only to be emphasised by Ian Lenton’s powerfully morose vocals, perhaps most effectively demonstrated on the one-two punch of ‘Code Entwined’ and ‘Body Unbind’, respectively.

Unashamedly taking drastic turns in sound when least expected, Bānhūs shifts gear more often than not, backed by Mark Donaldson’s rhythmic drumming, whose pace increases twofold during the final minutes of album opener, ‘The Dragging Cloud’.

Using subtlety in its purest form, Bānhūs really shines when it lets down its guard. The more heartfelt moments tend to seep through on occasion, showcasing a more elegant side to the band, especially in the album’s closing minutes of ‘To Whomever’ in which guitarists Jeremy Martin and Jayden Worts take centre stage.

Taken from the old English words meaning ‘bone’ and ‘house’ respectively, it’s interesting how Eleventh He Reaches London took a literal approach to depicting the cover of Bānhūs.

Perhaps neglecting the idea that human anatomy in itself is its own shelter for bones, the ribcage is a tough, hardened exterior that underneath exposes the more sensitive materials inside. The same of which could be said for describing the album itself.

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