Vanity Draws Blood, by Kirsty Birkett-Stubbs

With the hardcore block, and its many side streets, looking increasingly busy these days, new kids Vanity Draws Blood are the most recent act to take up residence there. Granted though the dual assault of vocalists Kerrie Alexander and Rob Saubole gives the band a slightly different edge, with Rob’s higher pitched tone grappling against Kerrie’s deeper screams in the kind of tactic which is slightly reminiscent of that employed by Sikth.
For a band making their stage debut, one thing Vanity Draws Blood certainly don’t lack is confidence, with more enthusiastic leaping about from Kerrie and Rob than a trampoline class listening to Van Halen’s ‘Jump’. Naturally minus the jumpsuits. At one point the pair disappears off into the audience to growl down some unsuspecting ears at close proximity. The opening drum beat to ‘Lies’ chugs like a hovering helicopter’s blades, before switching into sonic attack mode. Complete with extra riffs. At times though it’s difficult to make out just what is being said, or should I say screamed – Vanity Draws Blood do not deal in speaking volumes.
Latest Fashion’ and ‘The Boatman’ demonstrate Vanity Draws Blood penchant for raucous offerings, with the slower marching tattoo of ‘The Boatman’s’ breakdown a particularly nice touch. Throw in a spoofy metal cover of ‘Mary Had A Little Lamb’ and it’s over. Sure it’s not perfect, and at times there is a slightly repetitive feel, but it seems that there might just be space in this crowded neighbour for Vanity Draws Blood.