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Why We Love

Why We Love: Decius

Their first single was released in anonymity, but today, the faces behind the music have been revealed. DECIUS have been all over the airwaves recently with a string of fresh releases and remixes. The South London-based acid house band’s mission statement keeps it honest: “Decius is when members of Trashmouth Records, Fat White Family & Paranoid London find themselves climbing out of a hole together at a disco after hours.”

With nine EPs to their credit, the group’s sound shifts lanes from marauding techno to acid-house punctuated with unnerving falsetto vocals and unusually intricate lyrics. It’s so rare to find a fresh take on dance music that when one finds it, they should grab it by the jugular and hang on like grim death. But Decius’s addictive rhythms will probably grab you, first.

The electronic duo Medicine 8, helmed by Trashmouth Records founders Liam and Luke May, was the precursor to Decius. (Medicine 8 did a cover of the Velvet Underground’s, “The Murder Mystery,” that Lou Reed liked more than the original. “They did it so much better than I did, and I love it when that happens,” Reed said gleefully.) Medicine 8 disbanded, but the Mays continued their voyage of electronic experimentation in the form of Decius, adding Paranoid London’s Quinn Whalley and Fat White Family frontman Lias Saoudi to their crew. 

They’re Iggy Pop’s house music of choice. He described their sound on his BBC6 radio show as: “Made by a loose amalgam of England’s most troublesome, wayward and wanton musicians, Decius gets the groove going in a different way, they kind of come at you out of the dark…” The hype surrounding the acid-house conglomerate doesn’t stop with accolades from the legendary Godfather of Punk: Decius’s recent EP U Instead of Thought was a featured highlight in the September 2021 print issue of DJ Magazine, and The Quietus recently did an in-depth interview with them, which coincided with the release of their ninth EP, Look like a Man

Their dark, danceable tracks have won the praises of DJs the world over, and if not for the unpleasantly sticky situation of the ongoing pandemic, they’d undoubtedly be playing a residency at the Panorama Bar in Berghain right now. Pre-pandemic, the group played gigs such as NYC Downlow at Glastonbury, Salon Renaate Sur Wilden in Berlin, and the infamous, much-missed World Unknown parties. Post-pandemic one can only imagine the sweaty glory that awaits.

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Fix Yourself, Not The World

The Wombats have really outdone themselves, not to anyone’s surprise, however. If you’ve been a fan of the Liverpudlian trio for any amount of time, you’ll have seen firsthand that Murph, Tord, and Dan are an unstoppable indie force that isn’t to be reckoned with. 

Since the release of the band’s last record Beautiful People Will Ruin Your Life, the boys have gone on to play across the world, conquer TikTok, and release bundles of music within individual projects. The hammer of the 2020 pandemic put a spanner in the works for the traditional way of writing and recording new music, so with the band separated between three different countries, The Wombats began to write music, send ideas, and develop one of the band’s most successful entries to date. 

Fix Yourself, Not The World!, The Wombats’ first UK number 1 album, really deserves all the praise it gets. Thematically, the record holds a nice message, which I imagine is a direct result of it being a lockdown album, but it works really well and all the more tightens up the stories within the album. Musically, the LP comes together astonishingly well. It feels incredibly fresh and coherent, and trust me, pops off harder when played live. I was lucky to hear the album played in full a week early at Pryzm in Kingston, and for an album written and recorded entirely separated within a pandemic, Fix Yourself… was born for a live setting. 

It all kicked off with lead single “Method To The Madness,” followed by “If You Ever Leave, I’m Coming With You,” which you can read all about here, I won’t repeat myself. Every track on the album, though, packs a punch that blends with your brain to enforce this feeling of positivity and forward momentum. Maybe it’s the production, maybe it’s the message, or maybe it’s just because it’s one of the first big albums of 2022 to drop into our laps. Whatever it is, I’m addicted to the cure that is Fix Yourself, Not The World

I wanted to be all cool and tell you all of my favourite tracks that I think are worth your time to get you into the album as quickly as possible, but sadly, the album’s just too good. So, I’m going to stray from the album’s singles as you’re more likely to have been exposed to them already.

“Flip Me Upside Down”, “People Don’t Change People, Time Does” and “Worry” are absolutely the underdogs currently. I swear they’ve laced these tracks with illegal substances for my playtime and money, but frankly, if it’s working, then fair play to ‘em. My favourite off the album at the moment, though, has to be “Don’t Poke The Bear.” The catchiness and bedrock of a vibe that keeps this track moving just melts my ears and, well, rocks my socks off.

Fix Yourself, Not The World is a great album, crafted so well with a lot of love and effort. The finished product is a brilliant demonstration of The Wombats still having that knack for being one of the most versatile indie bands of today. I’ll be listening to this album for years to come by the looks of things, and I’m more than happy to keep it on repeat. Starting 2022 off with a bang, I suggest you all start streaming this corker of an album before future-you gets all the bragging points of discovering it.

Listen to Fix Yourself, Not The World on Spotify here, and catch The Wombats on tour in various locations throughout the year!

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Creators Monthly Indie/Indie Rock New Wave Pop/Indie Pop Why We Love

Why We Love: Young Guv

Ben Cook, the man behind “Young Guv”

Instagram has changed my life in many ways. On the bright side, it has given me many international opportunities, such as writing for this brilliant magazine. On the negative side, it has rendered my attention span so useless that chances are, I reached down and stared at my phone screen before I even finished typing this sentence (I actually didn’t. There is hope for me.). However, in the former category, I have been introduced to countless new songs and bands thanks to a mixture of advertisements and random posts on the site. 

Recently, I was scrolling mindlessly through my phone when I stumbled across an artist by the name of Young Guv. I vaguely recalled having seen the name before, but I hadn’t investigated further because I figured he was just another rapper. However, I stopped on the post that had come up in front of my indifferent eyes and took a listen to the clip. Immediately, I emerged from my stupor as the chorus of the song, which was called “Only Wanna See U Tonight,” floated into my ears. The song had the trappings of late 70’s power-pop mixed with the sheen of mid-90’s alt-rock. Shining guitars popped out over crisp drums, melodic bass, peppy tambourine, and the almost saccharine vocals of the project’s mastermind, Ben Cook.

Stunned, I played the clip over and over again before it occurred to me that I ought to go and listen to the actual song. I listened to it a few times and enjoyed it greatly. It almost felt like a guilty pleasure; surely this was some cynical cash grab. The production was too clean, the vocal harmonies too ear-catching, the guitar tone too sunny. However, over the course of the past month, “Only Wanna See U Tonight” has repeatedly floated back into my head until I relent and listen to the song again.

I then took the big risk of exposing myself to the rest of Young Guv’s catalog. From the beginning, I was worried that Guv’s other songs wouldn’t stack up to the pop glory of “Only Wanna See U Tonight,” so I approached them with trepidation. I was proven joyfully wrong. “It’s Only Dancing” brings the energy of the earliest days of new wave, with guitars caked in the chorus and the drums providing an insistent and instantly groovy treadmill for the song to run on. The song brings to mind Joe Jackson, Rick Springfield, and Bruce Springsteen. If you told me that this song was from 1981, I would absolutely believe you. Even the production works on that level, which is a surprising feat in a world where a lot of pop stars try to ape the 80’s “sound” by throwing atmospheric synths on their music.

Other gems in Guv’s catalog include “Lo Lo Lonely,” which cranks the distortion to a point reminiscent of Teenage Fanclub and Weezer. Emphasizing the influence of the latter band, Cook’s vocals ooze through the song like Matt Sharp’s on The Rentals’ sophomore album Seven More Minutes. Moving in the complete opposite direction is “Caught Lookin’,” a song that sounds like what you’d get if you stuck Mac Demarco in a DeLorean. Gently plucked acoustic guitars meet swirling synths and grooving bass. The overall feel is funky and suave, which is punctuated by female backing singers and a subtle drum machine that hits at just the right moments. An airy saxophone firmly ends any debate.

Overall, Ben Cook and company have shown that they can write some real fine songs. They accomplish the difficult task of writing guitar pop that isn’t overproduced but doesn’t rely too much on nostalgia. Their next release, a double album consisting of Guv III and Guv IV, is expected on March 11th through Run For Cover Records.

Young Guv, courtesy of Run For Cover Records
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Pop/Indie Pop Uncategorized

Maggie the Cat: Femme Fatale Extraordinaire

Today marks the release of Maggie the Cat’s second solo single, “I Love You and I’ve Got a Gun.” For those of you who are new to the work of this femme fatale extraordinaire, she’s formerly the lead singer of South London’s witchiest glam-rock group Madonnatron, and currently flying solo under the moniker, Maggie the Cat. 

Her new single, “I Love You and I’ve Got a Gun,” showcases her signature flair for film noir drama interwoven with deeper themes of power, baring the psychological struggles that so often accompany love affairs, and threading her work with a feminist undercurrent.

The impetus for the song occurred in 2019, when Maggie the Cat’s two-year old son, who’d just begun to speak, toddled up to her and announced: “I love you, and I’ve got a gun.”

“I thought, ‘Oh my God!’ ” Maggie remembers. “A: why’s he talking about guns? And B: that’s amazing. So I held onto that (phrase) as an idea, and I wrote the song.” Stefania (of Madonnatron) suggested that Maggie might find inspiration for the song’s lyrical content in the Italian B-movie, “The Girl with the Pistol,” starring Monica Vitti.

” …I watched the film and I loved it,” Maggie explains. “It went so well with the title, I just literally wrote the lyrics about the film, and about the character in the film: her madness, her obsession. Following on from Madonnatron, there’s nothing like a bit of amorous killing. I’ve worked on it from time to time over the last couple years and it’s morphed from being a guitar song into this kind of pop, arabesque thing, that now will grace the airwaves.”

A haunting, fretful ballad with gorgeous instrumentation influenced by both modern North African pop music and traditional rai, “I Love You and I’ve Got a Gun,” is ultimately a powerful blend of ‘a tale as old as time,’ with the strong left hook of a crime thriller.

You can follow Maggie’s adventures on Instagram @maggiethecatmusic and @trashmouthrecords. Her latest single, “I Love You and I’ve Got a Gun,” is available to stream on all platforms, and available for purchase on Bandcamp.