Album & EP Recommendations
Fear Fear by Working Men’s Club
“Trapped inside a town, inside my mind” - the self-titled debut from Yorkshire outfit Working Men’s Club will forever remind me of the strangest of times.
When the album was released in late 2020, the world was still tightly locked into some fairly strict COVID restrictions. Here in the UK, although things had opened up somewhat, live music was still a way off returning. This meant any band promoting a new record had to think outside the box for their album launch shows. For example, I went along to the launch event for Working Men’s Club’s first album here in Nottingham and reflecting on it now just seems so strange.
Firstly, the band couldn’t perform live, so basically a projector in the bar played a video of them performing instead. Even though the band themselves were in attendance at the venue! Then everyone in the crowd was sat down at socially distanced tables and once the video performance had finished, frontman Syd Minsky-Sargeant begun to play a DJ set. However, before he had even gotten into the swing, everyone was ushered out of the bar because of the 10pm curfew. A fun but quite bizarre night and obviously not the ideal launch conditions for a new band just starting out!
However, despite the restrictive nature of the release, Working Men’s Club came through and their debut was a decent commercial and critical success. Placing 13th in my final Albums of 2020 list, it was also my highest rated debut of that year. Now just two years on, Working Men’s Club get what feels like a second shot at making a first impression, with this their excellent sophomore album - Fear Fear. Not completely rid of the association with the pandemic, Fear Fear arrives packed with songs troubled by loss, panic, isolation and trepidation. However just like their debut, the album’s dark underbelly is glossily sheened over thanks to the neon-soaked drench of pulsating, nostalgia-laced electronica.
Opener 19 is an early highlight, featuring a glitchy instrumental rumble of ominous synths, that slowly build before morphing halfway through into what could easily be mistaken for a dark and gloomy New Order track. After that, the album’s title track interrupts with a cacophonous drone of acid-soaked and quite alarming electronic shakes. As the Caribbean-style drums kick-in, suddenly the track becomes a swirling vortex of buzzy, vibrant sounds. It's one of the album’s more experimental tracks and may put some people off early doors, however addictive lead single Widow then arrives to pull everyone back onside. With a mesmerising central synth groove, Working Men’s Club continue to channel New Order and the spirit of a 90s Madchester rave to maximum effect.
Another single Ploys then keeps the momentum going with some very welcome early Hot Chip energy before the 80s-tinged, mini-epic Cut takes the listener on a mind-melting sonic adventure. After the trippy clanks of Rapture, recent single Circumference then serves up a colourful rainfall of glowing synths - a must-listen for any Nation of Language fans. The album then finishes strongly thanks to the playful funk bounce of Heart Attack, the jittering robo-dance of Money Is Mine and the climatic, whirring finale of aptly titled track, The Last One.
Working Men’s Club may have set a high standard with their debut, but it’s great to hear them continue to ride their wave of momentum on this very solid second outing. With a dark, moody aura, lots of fun sonic exploration and plenty of replay ability, you’ll struggle to have a bad time listening to this one.
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Hellfire by Black Midi
Elsewhere this week, experimental rockers Black Midi are back at their batshit best with their third album - Hellfire.
Whilst I wasn’t completely taken with their debut Schlagenheim, last year’s sophomore outing Cavalcade did win me over with its frequently fascinating and erratic sonic leaps between jazz, math, prog and art-rock. Hellfire pretty much picks up where that album left off, but with the big difference being that Midi finally start to knit things together to bring some semblance of cohesiveness to their auditory madness. Coming from the opposite end of the spectrum to The Weeknd’s Dawn FM, a polished pop record about the beauty of the afterlife, Hellfire feels almost like its bleak, demented cousin. Also featuring radio transmission interludes, it’s a brutal rock opera focussing in on the horrors of war and humanity.
Its hard to pick out certain tracks as highlights, as this really is a record that demands to be listened as a whole body of work – the bonkers rollercoaster from beginning to end being the real highlight. However, I did see this week second track Sugar/Tzu described as “the soundtrack to a James Bond chase scene, if James Bond was played by a cartoon mouse” which I thought was too perfect a description to not include here. Elsewhere Welcome To Hell with its stuttering riffs and rambunctious orchestration also stands out, as does folky, subdued centrepiece Still and the theatrical, early Wild Beasts-style shades of tracks like The Race Is About To Begin and 27 Questions.
Black Midi will always be a marmite band and if you weren’t a fan before then this is certainly not the album to get you onboard. However, if you enjoyed the over-the-top dramatics and frenzied ridiculousness of their previous two efforts, you might even find this to be their best album yet.
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The Present Is A Foreign Land by Deaf Havana
“Overall, The Present Is A Foreign Land is a magnificent rebirth – a deeply personal record from beginning to end, simply brimming with all the heart and resilience the Veck-Gilodi brothers could muster. Although they probably didn’t realise it at the time, everything they’ve been through seems to have been a blessing in disguise. And whilst not everyone has been through the same battles as them, an album that documents coming through unimaginable lows to ultimately have a more optimistic outlook for the future, couldn’t feel any timelier.”
Read my full review for Gigwise here
Read my full interview with Deaf Havana for Gigwise here
Listen to the album here
Also out, also great: Why You Lacking Energy by Cassia, World Wide Pop by Superorganism, I Exist EP by Vukovi, Beatopia by Beabadoobee, A Kid Name Cudi (Re-release) by Kid Cudi
Tracks of the Week
Guitar Songs (TV / The 30th) by Billie Eilish
On the tracks front this week then and global pop sensation Billie Eilish made a return with her first new music since her history-making headline set at Glastonbury last month. Titled Guitar Songs, this duo of heartfelt acoustic songs see Billie and her brother FINNEAS return to their early roots with some gorgeous, stripped-back, no-fuss songwriting.
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Alright by Sam Fender
Also currently conquering festivals across Europe this summer, Geordie Springsteen Sam Fender has dropped his first new music of 2022. Written during the Seventeen Going Under sessions, it thematically fits the personal and reflective nature of that album, whilst featuring his signature mix of soaring guitars and big bold horns, along with a climatic refrain of “We’re alright, it’s time to put the world to rights.”
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How Will I Know? by The Amazons
Reading rockers The Amazons continue the build towards their third album, this week unveiling the album’s opening and spiritual title track. As with recent singles Bloodrush and Ready For Something, it continues to suggest the band’s songcraft is maturing nicely with How Will I Know If Heaven Will Find Me looking set to be their most accomplished project to date. As for the track itself, it boasts a huge singalong chorus that will surely go down an absolute storm at their upcoming summer festivals appearances.
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Kill Or Be Killed by Muse
The latest single to be taken from Muse’s upcoming album Will of the People is another welcome return to their early heavier roots. Featuring hard chainsaw-like riffs, pulverizing synths and Bellamy’s signature operatic vocals, it’s easily one of their best songs for a very long time.
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So Far So Good by Gold Tides
And last but certainly not least, Sante Fe outfit Gold Tides have released their first new music since their impressive debut 2021 EP, Fever Water. Featuring a wonderfully hazy and psychedelic central guitar groove with an instantly catchy refrain of “Through the Void I Saw It / Through The Flames I Saw It”, Gold Tides continue to show bags of potential.
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