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Fat White Family - Songs For Our Mothers

  • Published in Albums

Wakey-wakey! If you haven’t heard of Fat White Family yet then you must have been living under a rock for the last couple years. Famed for their raucous, energetic live shows (human excrement, dirty protests, blah blah blah) the group have been doing the rounds in Europe as well as the states in support of their first album, the excellent, Champagne Holocaust. They have also formed two other groups (Warmduscher & The Moonlandingz), set up their own record label, Without Consent and signed to the legendary Fat Possum label stateside.

January 22nd sees the release of their much anticipated second album, Songs For Our Mothers, it's the first release since last years, 'I Am Mark E Smith' single. The album features everything from serial killer Harold Shipman, the abusive relationship between Ike and Tina Turner and to Hitler's final moments in the bunker.

Kicking off the album is the groovy lead single, 'Whitest Boy On The Beach' and its clear from the outset that this isn't going to be another garage rock album. Disco vibes a plenty here folks! ‘Satisfied’ was co-produced by Sean Lennon and is sure to be a crowd pleaser with its sing-a-long ending and signature Fat White swagger.

'Love Is The Crack' brings us into darker territory and shows off lead singers Lias Saoudi quivering vocal style. 'Duce' and 'We Must Learn To Rise' are the heaviest tracks and most relatable to their live sound. With Popol Vuh-like chanting and death metal riffs, these tracks are going to sound huge when played live.

A definite stand out track is 'Tinfoil Deathstar', with its Michael Jackson bassline, to the crashing synth chorus, this album is all killer no filler. Tracks such as the German sung 'Lebensraum', the album closer 'Goodbye Goebbels' and the tropical daze of 'When Shipman Decides' help create a balance of disco and the heavy, which makes this album feel more whole.

The album may sound more polished than its predecessor but this a band that is coming into their own and are a breath of fresh air in the rock n roll world. We can't wait to see what they do next. Make sure to see the boys on tour this coming February. 

Song for Our Mothers is available via Amazon & iTunes.  


Festival Coverage: End Of The Road 2015

  • Published in Live

In celebrating its 10th birthday, End Of The Road remains a unique and brilliant fixture of the UK festival calendar. Housed in the exquisite settings of one-time Victorian Pleasure Gardens, EOTR has grown in recent years, but refuses to part with any of its charm. There’s a relaxed and welcoming atmosphere, but they are deadly serious about their packed and diverse line up, which showcases huge names and those in the making.

Among the free-roaming peacocks, the festival is also packed with comedy, fantastic art installations, a Forest Disco and perfect little touches. (How does a surprise performance from Laura Marling on a tiny, hidden Piano stage sound?)

In an increasingly busy festival calendar, End Of The Road stands out from the crowd, and you can see it in the enjoyment of the performers. You’ll see many of them wandering around the site before and after their sets, and there’s no wondering why.

On Friday afternoon there were captivating sets from the Race Horses’ Meilyr Jones; moody Canadian outfit Ought; the fantastically raw Torres; upbeat art-pop act Django Django and the wacky King Khan & BBQ Show (complete with gold cape and black leather pants).

But Friday belonged to Tame Impala, who headlined The Woods stage with a commanding and mesmerising set. They flowed through earlier, guitar-led material and the more disco-focused Currents. Opening track ‘Let It Happen’ pinned their colours to the mast for a dazzlingly trippy set, and when the stomping favourite ‘Elephant’ started, the festival really felt underway.

The night was capped off by East India Youth, who performed a spellbinding electro-pop set in the Big Top Tent.

Saturday began with the colourful Human Pyramids, who performed a wonderful, orchestral show. With a stage literally full of musicians, it was the perfect wake up call, complete with uplifting string arrangements, clever melodies and startling drums.

Following this came The Duke Spirit, Slow Club, whose impact was lost slightly on a larger stage, distinctive LA two-piece Girlpool and the abrasively rocky Ex Hex. All this preceded the explosive Fat White Family, who tore the Big Top Tent apart.

As the highlight of the entire weekend, special praise must be reserved for Sufjan Stevens. Making his first UK festival appearance, Stevens played one of the most astounding sets you are ever likely to witness at a festival, during which you could hear a pin drop.

To stun a festival crowd into silence on a Saturday night is no mean feat, but in brisk September conditions the real chill comes from the wonderfully bleak compositions of Carrie And Lowell. ‘The Fourth Of July’s’ refrain “We’re all gonna die” is one you would expect to be a bit too drab for this crowd, but it’s absolutely spectacular. After sharing a hand-written letter he had received from the organisers some 8 years earlier, requesting he played, it was more special for the wait. Then when things got a little too solemn, Stevens would react appropriately, playing feel-good tunes like ‘Chicago’ and ‘Come On! Feel the Illinoise!’ complete with a brass backing band.

Following Saturday’s chill, Sunday was gloriously warm. We are welcomed by indie darlings Hinds, who had clearly brought some Spanish sun. In turn, the inhabitants of the Big Top tent groove to the tunes of Ultimate Painting and Happyness, who bring a dreamy slice of '90s-inspired rock. Later Alvvays brought their sugary indie pop to the sun soaked main stage.

Mac DeMarco offers a 10th birthday cake for the festival, alongside a slick set on the Garden Stage. “I’m going to cuddle up to a peacock and ruffle a few feathers, if you know what I’m saying”, a spaced-out DeMarco announces, in his best bloke-in-a-porno impression. Towards the end of his set, Mac leaps into the crowd, but “straight to the ground as always.” Meanwhile his band-mates, who have personalities and talent as immense as his, chuck their guitars to and fro, amidst impressive solos.

The grandiose sound of The War On Drugs, driven by Dylan and Springsteen’s influences, is chosen to call an end to the festival. Like so many others they show a genuine pleasure to be playing, saying the only other time they’d been asked, they simply couldn’t afford the flights. Now as a major player, they’ve found their place and give an impressive show, showcasing 2014’s astounding Lost In The Dream, for the festival’s final hurrah.

End Of The Road’s 10th birthday celebration was, as expected, a huge success. The intimate but expansive gathering is a family-friendly treat and a musical highlight of the year. The sound on each stage is incredible, and most importantly unlike other festivals, the 4 stages are close enough that you’re only ever be a few minutes’ walk between each (via a bar with short queues), meaning you can really focus on enjoying some great music, in an idyllic setting. Here’s to another 10 years.



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