Failure is a band I first encountered many years ago now, over a decade at this point. And there is just something fantastic about them, from the way they’ve created space sounds, segues and more, the fact they’re not as big as household names from the 90s is still hard to process even now. But that doesn’t mean they haven’t left an impact on the music scene. There’s a saying I’ve seen go around a lot about Failure which is that they’re your “favourite bands, favourite band” which I think is a great way to put it, if not a little detrimental but I think we can look past that because Failure’s talent is amazing. And once you know that signature sound, you’ll be hearing its influences all over your favourite band’s discographies.
Another Space Song is perhaps one of their most well-known songs, and for christ sake why wouldn’t it be? I mean just listen to that filthy fat bass tone there, or that glistening guitar to accompany it. Deep distorted bass, psychedelic and prog rock soundwaves that their influence can be heard among bands such as Muse and Paramore (Particularly with Paramore’s Future).
The band had been making noise since their debut album in 1992, through the years releasing 3 stellar albums, including the iconic 1996 record FantasticPlanet, but had a break up just one year later. During the time of their hiatus the band members all went on to do different things, frontman Ken Andrews going on to work as a highly sought after music producer (and I mean it’s clear why). Fellow member of the band Troy Van Leeuwen was invited to join rock giant Queens Of The Stone Age which is where you’ll find him even now. But after the decade long break, Andrews, Greg Edwards and Kellii Scott all got back together and decided to give this old thing another last spin, releasing 2015s The Heart Is A Monster, showing once again that the sounds of Failure are not one to be trifled with. Just go listen to the monstrous headbanger The Focus (which needs to be blasted on full volume), Hot Traveller or the nightmarish Counterfeit Sky. Whichever way you go you’ll be in for a treat I’ll just put it that way.
In 2018 the band dropped brand new album In The Future Your Body Will Be the Furthest Thing from Your Mind, that further showed how Failure’s know well-known sound can be strayed from to construct a phantom frenzy of a sonic experience that you only get with a band as dedicated as Failure. Maintaining that speed and ecstasy of 90’s grunge and prog rock, but also delving into cleaner sounds here and there, like the somewhat David Bowie Blackstar inspired instrumentation of Dark Speed.
I’m going to leave you with Stuck On You from Fantastic Planet. A song that has been covered countless times and well, I think it’s very deserved to be heralded at such a level by committed fans of it. A slow and heavy tune that brings you right back to the ’90s but completely reminding you as to how futuristic Failure’s Fantastic Planet really was.
Five years ago, upon being gutted on missing out on a ticket to see Muse and then Nothing But Thieves, I decided to check out who’d be supporting the latter on their tour and check out the band that I’d now be missing out on. I found myself one gloomy morning on my way to college checking out that very band, Airways, and from the moment that first chorus dropped I was hooked. The song in question was One Foot, a track that blends sounds from such indie rock icons such as Oasis, Arctic Monkeys and Gorillaz, but in a very modern way a’la YUNGBLUD or RAT BOY, taking indie and punk right into the heart of the 21st century. Discovering this band as the support act of the support act of my favourite band at the time, it can’t be said anymore but, man never skip out on the opening band.
Later I managed to encourage my mates to listen to Airways because they just so happened to release a smash hit that made it onto Spotify’s ‘Walk Like A Badass’ playlist, Reckless Tongue. A song that combines the classic style of 2007 Arctic Monkeys with the indie and hip hop modernity of 2017. Just a menacing tune that makes you want to headbang in the middle of the street, shop or wherever you may be when you find yourself listening to their EP Starting To Spin. Alongside One Foot and Reckless Tongue, this EP boasted White Noise Boys a track that sparks some lowkey ska vibes, not the most conventional vibes but enough that you can hear a band like Madness or The Specials perform it. But the classic indie rock sound wasn’t all they had to offer, scratching the surface of some electronic sounds with the title track.
So fast forward a year and the Airway boys settle for Nothing But Thieves‘ guitarist Dominic Craik to do some producing work for them, which splashed a cavern of depth so visceral in the form of Blue Gasoline. God you can just taste the talent Airways have to offer here on out, it’s a dick tease the fact they’ve not released an album at this point. Combining synths to reverb-drenched guitars in a dreamy journey that makes you want the clouds to just swallow you up.
Fast forward a year yet again and we’re gifted the double single Trampoline / The End. The latter gets overshadowed by Trampoline a bit so I want to gloss over The End which is a beast of a track. What do you do when you’ve done the whole indie rock thing and the ethereal soundscape? Combine them in the most monstrous way possible. Fans of Twenty One Pilots seem to take a liking to this track in particular, so if that stuff is up your alley, make it a point to check out this one.
But then switching stuff up once again, going back to a more indie realm, Airways dropped their latest single, Out Of Luck in 2019. Which is a little while ago so I am praying this means we’re all the more closer to a debut album. Back to a faster pace upbeat style, but taking guitar inspiration from the likes of Johnny Marr but perhaps with a more disciplined surrounding, but then kicking off into another classic headbanger in the chorus.
Imma leave you guys with Alien. A song about the bands rejected US Visa’s leaving them unable to play at SXSW. Lyrically it’s actually more of a funny story, I mean I’m sure not for them the amount of money they probably lost in that application was probably no joke, but hey it made for a good song and hopefully, in a few years time they’ll be playing it to huge crowds on a headline tour through the very country that said “nah mate, not today”. I’m paraphrasing here but you get me bro.
Listen to Airways on Spotify before they blow up so you can tell your mates “I told you so”.
Delta 5 were just one of the many post-punk bands to arise in the north of England during the late 70s and early 80s. Like one of their many new wave counterparts Joy Division, the group only released one album in their short-lived time together, but hell did they write some kick-ass tunes.
After the early success of their singles Mind your own business and You, the band signed to Rough Trade before eventually releasing their debut album See the Whirl with Charisma Records. Despite their initial success, the album received poor reviews, and as a result, the band split shortly afterwards. Despite once being at the forefront of the feminist post-punk movement, Delta 5 is often overlooked in new wave music history.
For years their early singles remained underground classics to those who could find a printed copy until a compilation of their earlier material was released under the title Singles and Sessions. They were thrust into the limelight once again when various Netflix and BBC dramas including Sex Education featured their songs. Delta 5 may not have had the success they needed at the time of their first album, but they certainly have it now. One thing’s for sure, this group’s music doesn’t go quietly into the night.
WhenYoung started cooking up brilliant tunes as a group back in 2017 when the Irish trio, formed of vocalist and bass player, Aoife Power, Niall Burns (Guitar) and Andrew Flood (Drums) moved to Dublin under the band’s original name ‘Sisters’. Their debut singles ‘Actor’ and ‘Silverchair’ paved the way to quick success after gaining a few local names as fans – The Pogues frontman, Shane MacGowan, and the man himself; Bono… so no biggy really.
Later that year they were invited to play MacGowan’s 60th birthday in Dublin city centre without even having released an album at the time. WhenYoung, or ‘Sisters’ as they were, must have known from their early experiences that they were onto something special.
And indeed they were… now with an even more developed, kick-ass sound, it doesn’t take long to realise why they gained such legendary fans.
The group met in true Irish rock n’ roll style, sneaking into their local pub in the town of Limerick for some underage drinking and chats about the bands they loved. Later, after forming a band themselves, they moved to Dublin; a city big enough to suit their ambition. They went looking for the excitement they craved, and golly they most definitely found it.
WhenYoung are very much the next generation of bands such as The Cranberries and The Velvet Underground. If you’re a fan of either, this is a band for you.
Nowadays, with their first album ‘Reasons To Dream’ out in the world for all to hear, and with more people than ever having their ears tuned to the group’s unmissable sound, the three friends from a small town in Ireland are set to concur the world. WhenYoung have since based themselves in London, a bigger city fit for the scale of things to come? Don’t we know it.
Billy Nomates, or Tor Maries to her actual mates, is a boyish and brave one-woman force of post-punk modernism. With her trademark deadpan vocal style and a bold, direct attitude, her new self titled album will snatch your attention right off the bat.
Tor Maries is no stranger to the music business, having been in several bands over many years before finding her recent success as Billy Nomates. Reflecting on her previous musical endeavours, Billy recalls many of her fellow musicians having to eventually concede to the painfully cold reality of “giving up and getting a mortgage” – an uncomfortably familiar story we’ve heard all too often. Thankfully, it was after one crucial gig that Maries found determination for one more stab.
Billy’s first single, appropriately titled ‘No’ is a testament to the power she has discovered that word has. Explaining that it was only when she started saying ‘no’ to people that things began to happen in her life, she’s found that the word has a certain power to ‘open doors’.
Maries’ lyrics focus heavily around themes such as the UK’s class structure, money, hardship, sexual and personal issues. And as someone who to say the least has had the ‘real deal’ when it comes to struggling to get by, you can tell that Maries’ lyrics around such themes come from a genuine place.
For what feels like a long time overdue, a post-punk artist has emerged with some real grit between her teeth. Just like the Joy Divisions, Happy Mondays and The Clash of generations past, the best post-punk music has always come from a place of hardship, and Tor Maries possesses all the right qualities and some good old-fashioned attitude.
Following three exceptional singles at the start of the year, Billy released her self titled debut album in August to much acclaim from the media. As for our opinion, everything which was seemingly promised in Billy’s earlier singles has surly been delivered upon. A blend of punk and electronic, inspired by some of her favourite artists but with an added touch of her own, Billy Nomates has undoubtedly crafted a truly addictive sound.
One song from the album ‘Supermarket Sweep’ features Jason Williamson of the electronic duo Sleaford Mods as a guest vocalist. This band of a similar vein has been highly influential in Billy’s career since very early on. From serving as first inspiration for her sound and giving her the confidence to pursue a new line of music, to having Billy support them at their online gigs this year, the duo has been helping bring Billy’s music, quite rightly, into the spotlight this year.
Now I know what you’re wondering – how does an artist end up with such a demeaning name as ‘Billy Nomates’? The comment was infact thrown at her by a common heckler at a Sleaford Mods gig no less. The man’s remark to Maries being on her own at the gig gave inspiration for the name. Maries admits it’s a moment she’ll ‘never forget’. Later on, and the man from the gig, and all the blokes of the world with too much to say, were immortalised in Billy’s song ‘Fat White Man.’
With this only the start of the Billy Nomates journey and with the stage already set for more great tunes, we can’t wait to see what’s next for this free-speaking voice and her fantastic sound.
Sinead O’Brien is the Irish ‘punk poet’ that thrives on the edge; denying herself of anything cosy or familiar and instead opting for a ‘heavy heavy, busy busy life’ consisting of travel and new adventures.
Always doing things differently, her spontaneous attitude and lifestyle result in a lot to be grateful for; helping her to deliver marvellous songs, exploring the beauty in darkness, that we can’t help but love and believe that you will too.
Born in Dublin and raised in Limerick, the singer has never felt much of an attachment to a particular place but has always sensed a calling from further afield. This free spirit and ability to adapt to new ways and places feed their way into her consistently evolving songs. Using expansive language and sounds that vary from punk and folk to a hint of soul and funk, she expertly provides tracks that take you on a journey where, just like her, you’re kept on your toes every step of the way.
Despite her desire for re-location though, there’s absolutely no denying O’Brien’s Irish roots. The moment that she opens her mouth, she has you hostage; her divine accent delivering mesmerising words with equal parts grit and beauty. Painting a picture with every line, including desolate wonders like ”I feel like the daytime chasing the night” to relatable longings for motivation with “Days like this are the wildest way, to tame the flames, to get the head to higher…” she always leaves you longing for more.
O’Brien is currently living (but most definitely not ‘settled’) in London; the city where her real musical journey began. Upon her move, she fully embraced her desire for fresh experiences by taking a page out of Jim Carrey’s book and simply saying ‘yes’ to any opportunities that arose. Fortunately, for music fans, that included attending a spoken word night in Brixton where she first performed her poems up on stage. Subsequently, the natural lyricist joined forces with current bandmates Julian Hanson and Oscar Robertson and began to put her words to equally grand music; turning dreams and expressive thoughts into songs.
Her talent in doing so was undeniable right off the bat which led to Chess Club Records; the same label as fellow alternative rockers Wolf Alice, signing O’Brien up. She then began to release her hypnotising tracks with them, before stepping up a level from South London pubs when king of the punk poetry game John Cooper Clarke invited her on tour. The two immediately hit it off (which is no surprise when you listen to each of their gutsy works), and, thanks to JCC O’Brien was introduced to Mark E. Smith who she describes as one of her “most valuable references ever”.
As well as meeting one inspiration (who showed her the work of another), the tour with Cooper Clarke was also an opportunity to try a stint of something different once again, as like him she performed solo. After doing so she was told by a gig-goer that they could still “hear the music in it” which both she and myself completely agree with. Even without physical music present, you’re always touched by its essence thanks to her rhythm and heart, which is testament to the skill she has for her craft; consistently turning words into something so much more.
Her gifts don’t just stop there either, describing herself as incredibly determined from a young age, she pushed herself to excel in a range of areas both academic and creative- which even resulted in her moving to Paris to work for Dior. Just like her Irish upbringing, this motivation and affinity for style are also evident in her music; producing ambitious tracks that are sleek and well-tailored with a real artistic edge.
A sparse feeling is present in Sinead O’Brien’s songs, similar to that heard on Unknown Pleasures where space is intentional and meaningful; a bold move that not many even attempt to pull off. Each track contains an aura of magic, whisking you away on a different experience, that can vary from a trip to the dance floor on the snappy rhythmed ‘Taking on Time’ to dark dreams thanks to the strutting guitar and twinkle of keys on ‘A List of Normal Sins’. In doing so, she has laid the foundations to progress in any direction she wishes and seamlessly built her way up to releasing recent EP ‘Drowning In Blessings’; which to listen to feels like exactly that.
O’Brien’s intense voice cuts straight through the musical foundations of Drowning In Blessings’ tracks, her strong delivery inducing chills and making every word hit. Exploring the cynical side of modern culture in the likes of single ‘Most Modern Painting’ she generates such existential excitement with her observations on this and ‘Roman Ruins’ that you can’t help but feel riled up and ready to rock. She perfectly balances this edge and gloom with slightly more gentle elements though; resurfacing distant childhood memories of lullabies and carousels on ‘Fall With Me’ and closing with ‘Strangers in Danger’, her packed song on relationships between people and life- a perfect opportunity for reflection after the journey.
Filled to the brim with talent and creating songs jammed with ideas that are not only personal to her but can also touch each listener, O’Brien creates worlds within her work, and I firmly believe that it’s about time you’re swept away into them.
Capturing an essence of nostalgia whilst simultaneously looking to the future, Outer Stella Overdrive are a band that you need to be rocking out to, right at this very moment. The London lads Command your attention with contagious tunes, a charged vibe and an attitude that they’re ready to take on anything; stating that they want to ‘open up the industry’ when they checked in with TW.
Dazzling with a soon to be trade-mark grin, Raff Law thrashes lead guitar whilst belting out their passionate lyrics and is joined on vocal duties by Kelvin Bueno who also provides their bouncing basslines. Accompanying Kelvin on the heavy rhythm section is unwavering drummer Rudy Albarn, and Amin El Makkawi brings a magic flare on keys. Collectively, they’re creating a raucous sound that’s managed to tap into something we’ve been missing on the current UK rock scene; bringing a real boost of individual energy and undeniable excitement.
Channelling a proper rock approach, they have a raw and creative production sound that harkens back to the iconic music that they were raised on. In turn, this style helps to fuse their classic punk attitude with the fresh, forward-thinking injection that they bring to the table, thanks to growing up in modern London.
The sound encapsulated is big and bold; spanning genres with rocking riffs, a funky rhythm and even surreal psychedelic jams. On top of this, they pack in witty but thought-provoking lyrics (as discussed below) in addition to erupting choruses that fill their songs with even more passion and leave you ready to both rave and revolt.
Their latest single Camel Blue is out today, and ahead of the release Raff, Rudy and Kelvin chatted to TW about their evolution, lockdown life and what else they have coming your way…
A: It’s hard for your music to be defined by just one genre as you seem to effortlessly integrate such an array of styles. How would you summarise your sound in a few words?
KELVIN BUENO: I would say two words. I’d say ‘Outer Stellar’.
RAFF LAW: A few words are so hard, especially when I’m writing it but I’d say ‘powerful’ and ‘imaginative’.
RUDY ALBARN: I would say ‘our life’. And ‘true’, true is also a big, big keyword.
A: There’s clearly a real variety of influences thrown into the mix, is this a conscious effort and do you take any inspiration from outside the world of music?
RAFF: We’ve taken a lot of inspiration from just London, in the ‘Out + About’ video, we shot a few weeks ago, we touched on how London inspires us. In the project that we’re releasing in the form of singles at the moment, it’s like the epitome of what we’ve been living and breathing the last few years. Our experiences and things that don’t sit well with us.
RUDY: What we’re going through at each point, I think it’s a collective feeling between all of us. We’re just throwing things out. It’s a natural exploration and just comes to us in whatever way it wants to develop.
KELVIN: It’s almost an unconscious effort. None of us try to make any music of a certain style. We just make what we want to make and do what we want to do.
A: Do you guys have a particular way of working and have the recent months had an impact on this?
RAFF: We have a formula but it’s changed because of lockdown. For the past two years, we’d write songs together three or four times a week. Outside of that, I’d be writing a few lyrics on my phone and shit, but I wouldn’t be playing much music outside. Lockdown forced me to have to play the acoustic guitar for like three months without the guys.
KELVIN: We found that balance of our process. We write in a setup, instrument environment, but we also go away and write in isolation, then come back with lyrics and build from there. It’s just the rawest form of songwriting there is; no technology, just vibing together.
RUDY: Oh yes, it fired us up in that time to be like, ‘shit, we got to do this’. A thing that was cool was when we started rehearsing, instead of playing the songs that we just recorded, the last time we were together, we were like, ‘let’s just write new ones’.
A: How do Outer Stella Overdrive want to change the game?
KELVIN: First of all, put this music back where it needs to be, band music at the top. In the industry, everything sounds like it’s in one place, in one lane. We just want to open up everyone’s ears, open up the industry and opportunity. Inspire the next generation to be like- “I want to pick up a guitar”.
RAFF: I think the process that we have; mates writing music together, it’s so much fun. I personally think it lies in its enjoyment. Our shows are all about energy and positivity and having a good time which is especially true right now when we can’t play shows and the government are telling ballerinas to go cyber.
RUDY: I feel like a lot of music at the moment is solo artists and producers and I think having a group of musicians all play together is a completely different vibe that’s a special thing missing in the industry at the moment. I think it adds another element to our music, just the way we write and, like (Raff) said about everyone getting together, seeing friendly faces.
A: You’ve been putting out some class tunes the past few years now and it’s exciting to see that you’re regularly topping the ‘Punk List’ on Spotify these days. Could you tell us a bit about what the band has in store for us next?
RAFF: Three Piece has recently come out and we have some video content made with Luke Scully (the Creator of ‘Out + About’) to go with that coming soon.
KELVIN: We’ve also got two more singles to come (the first being ‘Camel Blue’ that’s out today). Then we’re going to drop an EP which consists of these last four singles that we’ve dropped and a few more tracks. It kind of encompasses our journey up to this point.
Then next year, we’re going to have a proper project for you that we’ve just recorded. The first EP that you can look forward to is ‘Counting Self-Doubt’, which will come at the end of this year. And that will change the game.
A: How do you feel you’ve evolved in your musical journey so far?
KELVIN: I think we’ve evolved so much that it isn’t natural. It’s been three years and we’ve really been patient with it. We haven’t just been trying to pump everything out, go big straight away and sign to whoever, wherever we can. We’ve just kept ourselves to ourselves and grown.
You’ll see the progression in the music from what’s out right now, to what we’re about to release, to those coming out next year. We’ll just let the music speak for itself in terms of that.
RAFF & RUDY: Amen.
A: If you could recruit any music musician dead or alive into the band would you go for why?
RAFF: I’m going for Peter Green.
KELVIN: So strong. Ah, shit. Yeah, it would be.
RUDY: Well yeah, I wouldn’t want another drummer in the band so I’m cool man.
KELVIN: I would recruit fuckin Janis Joplin just to do some squeals in the background.
RUDY: We could do a feature or a little project.
RAFF: Yeah, that would be groovy.
A: I haven’t been fortunate to catch Outer Stella Overdrive live yet but from videos I’ve seen, it looks like you create an insane atmosphere. Would you say that you’re more in your element performing live or recording the studio?
RAFF: We’re in such different states of mind. In our live performances, we try to play our songs with as much of a high energy as possible and put on a performance. I love getting the crowd involved, whether that’s getting them to do certain dancing or callbacks. I think if you make everyone feel welcome and part of it, it makes it more memorable. You want everyone to remember that gig, that first time they saw you play.
KELVIN: In the studio, we’re actually perfectionists and so precise, so like Raff said we’re in such a different state of mind. Performance-wise we’re willing to sacrifice some of the details that only musicians would notice, to put on a show and just get everyone going crazy with us.
RUDY: I’d say from a live perspective, you’re in a different mindset where you’ve got something to do and that’s the goal at the end of the day. In the studios, you can be more open and absorb more without having to go to that certain place.
A: Many of your lyrics make bold statements that seem to come from a real personal place. Do you have any favourites that you’ve written?
RAFF: Personally, I feel like the lyrical journey is a whole different experience in itself and I think the best lyrics that we’ve written are what we’ve done in lockdown. As a band, we’ve realised that if we write more fifty-fifty, our songs come from two different personal points of view and life experiences.
KELVIN: It’s much more interesting. Let’s pick a line of something you’ve written and I’ve written.
RAFF: ‘Lost track of time, drowning my sorrows down the line, signing my life away for five minutes of comfort. It’s a fact of mine, that I much prefer the night when the darkness hides the light that shows discomfort’.
KELVIN: In terms of real powerful, moving shit, I think the starting verse in Three Piece-’Another day in London Town, where you can get stuck up and it can get gory. Feds pulling anything that’s brown cos they work for the Tories. So I keep my head right down cos they got it in for me’.
RAFF: To end on this, the lyrics on the singles and the project that we have coming out next year are so bold and the message is so clear. We touch on mental health, we talk about being locked up and not feeling free, our anger towards the government and how they haven’t been thinking about the youth and creatives…
KELVIN: We talk about our personal philosophies and ways of viewing life, a lot of the tracks are quite reflective.
ALL: Peace out from OSO
Check out Outer Stella Overdrive’s brand new single Camel Blue and their other top tracks on Spotify now
When I first discovered Hull’s synth-tastic rockers ‘Low Hummer’ they were named Le Bête Blooms. Since watching their name and lineup change over the years, I’ve been absolutely fascinated by their almost in-between sound of Pulp’s ‘Common People’ and Joy Division’s ‘Isolation’. A complete throwback to 80s and 90s British music, but in the most relevant way for today. Sounds to drag you back and lyrics to push you forward.
Inspired by the likes of Elastica, Pixies, LCD Soundsystem and Talking Heads, and with a tasty vocal dynamic from two lead vocalists Daniel Mawer and Aimée Duncan, Low Hummer deliver this beautiful contrasting sound of angst with snarky delivery, as well as taking the complete lead in some songs and really showing off what they’ve got to offer.
‘Sometimes I Wish (I Was A Different Person)’ is a brilliant commentary on modern consumerism and the way society affects things such as personal states and the way we take in mainstream media, with the band stating that “The song is about how we consume news from screens and the way in which this can detract from our personal relationships and real lives”. Musically it’s just so refreshing, which is weird to say about such a nostalgic sound but it’s such a dead-on specific sound that died with the age of the new millennium.
Take Arms is their latest single and my favourite. This is the track that got me into Low Hummer, or Le Bête Blooms as they were known back then. The fat synth line that carries the song, the fed-up and anger filled message, the devilish duo of male and female vocals and the characteristics of this small and skint northerner band, what’s not to like? The guitars that pick up in the chorus, thick distortion and the almost agitated synth-ish guitar lead that fills in the deeper parts of it, I can’t physically show a chef’s kiss right here but trust me, that’s what this song does to you.
Picture Bliss takes a bit of a different turn to the likes of the tracks I’ve glossed over above, but it’s all within the Low Hummer neighbourhood, a bit more traditionally indie, evoking some of those gorgeous Pixies vibes. You’d be forgiven for thinking this is a sweet romantic coming of age song upon first listen, however as said by Daniel in context to Picture Bliss; “I wrote the song about two strangers who find each other moments before the world self-destructs, they realise how lucky their lives have been, but still feel cheated to have only just met each other moments before the planet collapses. I tend not to write happy songs… but I’d like to think it serves as a nice optimistic song if you don’t bother to read into the subject matter!” However, if you read into the song, it’s clear to me that the band have a natural knack for writing great anthems for the 20th-century kid stuck in a dystopian 21st century now.
I’ll wrap this up with the first single ever released under the name Low Hummer just over a year ago now, ‘Don’t You Ever Sleep’. Lyrically about the modernity of impulse buying, and how everything is marketed as the thing that you need and will change your life! When in reality it’s all just clever advertising. It’s somehow very apt for the quarantined life too. The repeated lines of “We are bored” really helps the narrative of society now and the way we consume things, and as soon as we’re done with that medium, that’s it, and move on. Drawing attention to this sort of issue with passion and anger would normally come off as a bit in your face, but Low Hummer’s attitude, with the combination of their sarcastic and deadpan delivery embedded within their lack of patience and real anger, makes the message come across a lot more subtle than most bands now would convey.
I have no doubt that being a group of people from the north of England helps the anger rooted in the words within the tunes, especially just from looking at the way the north has been treated during the current pandemic. But they use this fusion of moods to create hallowing tunes to get straight into your head, and really pulls off such an interesting and poignant practice for songwriting and getting their message across.
Low Hummer is a band that would have absolutely thrived 30 years ago, yet after all that time, I feel they’re in the right time and the right place to do so now. Maybe a bit of old school is what we need to progress amongst the abundance of vast progression and future thinking. After all, sometimes history needs a repeat in order to learn a lesson. Fundamentally, Low Hummer is a band you should really keep a keen eye on because they’re bound to fly. I for one cannot wait for what the future holds for this band, a real needle in a haystack that’s slowly poking it’s way out for something grand.
Twisted, funky and humorous. Welcome to the weird and wonderful world of Warmduscher…
Formed as an impromptu band for a New Year’s Eve house party back in 2014 the five-piece fuses the talents of pre-existing bands Fat White Family, Childhood and Paranoid London, consisting of members Clams Baker Jr, Lightnin’ Jack Everett, Quicksand, Mr. Salt Fingers Lovecraft and The Witherer aka Little Whiskers.
Considering they sound like superhero rejects and were formed as a spur of the moment laugh they’ve now evolved into a fully solidified collective. In the 6 years since their formation they’ve worked with inspiration Iggy Pop, toured the UK and Europe and released three albums; with their latest release ‘Tainted Lunch’ being sandwiched between the two Fontaines D.C. albums on 4 x mercury prize nominated producer Dan Carey’s list of records.
There’s really not much that can be predicted from these guys with each track taking you to places you’ve definitely never visited before. However, they are kind enough to introduce you to their love of hellish humour and irony from the get-go as ‘Warmduscher’ is a German slang term for a ‘wimp’ but this insult far from applies to them, as their bold moves in producing dark and adventurous ‘fractured rock’ is quite the opposite of cowardly.
Now Like I mentioned, Warmduscher are hard to predict and for that very reason just as hard to define because they mash together so many different sounds; many of which no one would expect to hear together. One minute they’re dark disco funk on tracks like Disco Peanuts (I feel like you can begin to pick up on their erratic nature here without even needing a listen), then the next they’re storming macho rock on The Warm Smell of Florida and dark and grinding Midnight Dipper whilst also capable of bringing a surprisingly sweeter side in the melancholy boogie of Summertime Tears.
Despite being London based and clearly incorporating plenty of post-punk with their turbulent guitars and bouncing basslines, their frontman Clams Baker Jr was born and raised in Massachusetts and brings an American croon to the mix. When backed by their thick sound you feel like you’re trying to hitchhike in a heated desert which has resulted in comparison to bands such as the surprisingly English Alabama 3. Baker Jr sites the legendary James Brown as an influence, which really reveals itself in his narration-like vocals on the slow-burning intro of 1000 Whispers before reaching delightful screams that lead back into a smooth melody.
As well as capturing the soul of Brown in Clams’ singing there’s also that groove in the music on songs like Dream Lotion and the hip-hop infused Burner featuring Kool Keith- a song about getting your hands on some drugs (which I’m certain they must have done before writing this as well as many others). Standing On the Corner is one that instantly comes to mind as a trip fuelled track with psychedelic undertones lying beneath heavy riffs- accompanied by a mental music video to match.
Besides these varying sounds, there’s also the techno transportation of Uncle Sleepover that throws you right into a video game with its laser blasts and warping synths which is again quite a contrast to the likes of Tiny Letters; a song with a gentle melody at its core layered with those screams again, proving that whatever you listen to you’re taken to a new unknown destination.
The band have always embraced a real ‘go with the flow’ attitude as all members have other projects that mean they can’t solely dedicate their time to Warmduscher. They never had much time for rehearsals or multiple takes so recorded their albums by splitting them into halves and doing whole takes as they would with live performances- injecting real energy into their releases. Things are just as impulsive when it comes to actually being in front of crowds too; making lyrics up on the spot which explains such random lines as ‘I won’t pay for their discos, I’m not gonna buy their sandwiches’ and ‘trippin at the Weatherspoons’.
Recently, as they’ve developed further they have become a little more structured; reworking a few things where they can in order to get the best out of what they’ve got which has resulted in a beast of an album. They still continue to appear just as spontaneous to gig-goers in their manic stage presence though and I doubt they’ll be falling into too many generic conventions- still coming out with ideas ‘from the back rooms of your minds’.
It’s safe to say that Warmduscher really have their own way of doing things and thanks to this are one of the strangest things but also greatest things that I’ve listened to in quite some time. With their melting mixture of ideas, they’re bound to feature something that you love too, so take a listen to the madness yourself.
I have to admit, it’s rare these days that a new band or artist thrusts their way into my consciousness so hard it knocks me off kilter. And believe me, it’s not for lack of searching! I invest a lot of time reading music blogs, listening to friend’s suggestions and throwing myself at the mercy of Spotify suggestions. Searching for that euphoric “fix” of new music that enriches the soul and helps pass the working week. And so it was that I came across the wonderful sound of Mattiel Brown. One mundane day last year was suddenly lit up by a gem in my release radar called “Keep The Change”. The vibraphone-spattered opening bars pricked up my ears, followed by an urgent drum battery that wouldn’t sound out of place behind Levi Stubbs and the lads. Before the vocals even hit I was already signed up, but as soon as Mattiel launched into a saturation drenched “..And just-a-what did I get into here, walking on this floor?”, I knew I’d found something special.
The lo-fi (almost DIY) production and overtones of various classic genres at first tricked me into thinking I’d discovered some obscure classic from the distant past. After all, Mattiel wouldn’t sound out of place sandwiched between The Rezillos and Fabienne DelSol. But there’s something unique going on here too. And so the journey began.
After some Googling I found that Mattiel, or Mattiel Brown to give her full name, hails from Atlanta Georgia, USA and until very recently worked as a graphic designer for spam cannon MailChimp. This was before teaming up with guitarist and co-songwriters Jonah Swilley and Randy Michael, and subsequently catching the ear and endorsement of Jack White. I was shocked and ashamed to discover that “Keep The Change” is actually from Mattiel’s second album “Satis Factory”, and that her eponymous debut some two years earlier had somehow passed me by.
Both albums share Mattiel’s knack for storytelling. There’s an intoxicating blend of humour, irony and vitriol that draws you into Mattiel’s slightly irregular orbit. Check out the bouncy tale of “Baby Brother” or the decline of “Cass Tech” from the first album. And a real stand out track from the second album is Millionaire; “Ever since I got myself this easy chair, might as well be a millionaire” – wordcraft to rival Robert Smith, Mark E Smith or Morrissey in their pomp. But there’s no fat on either record; every song is vital and essential listening, and believe me I’ve listened repeatedly. “Populonia’’, “Blisters”, “Berlin Weekend”, “Long Division” – earworms, the lot of them. And all wrapped in a delicious cloud of Sam Phillips slap-back, Phil Spector spring-reverb and Joe Meek saturation.
Sure, you can hear the eclectic influences that haunt Mattiel’s music, but it would be impossible to pigeonhole her into a genre; and that’s a wonderful thing. All I can say is there’s something different about Mattiel; different in the way that PJ Harvey, Bowie, Nick Cave, Grace Jones and Polly Styrene are all different. She’s just not the same… and that’s why we love her.
