Callosum Closure - So Sweet

The newest record 

For a band to find their sound, it can take a while. For foursome Callosum Closure, their soundcloud would suggest that this rings true. However, with the newest and maybe most publicised track So Sweet (taken from their newest come debut record) the band are entering the "alternative" indie rock song scene with a track that showcases each member's contribution to the band and what sweaty mess they can produce musically. Based out of Hampshire, but congregated from around the country, these boys have made a tune that has so many hooks you could hang the contents of your wardrobe on them.

From the start of the song, you're slapped in the face with the band's lack of concern with major issues such as global warming or political agendas, and instead are met with somewhat orthodox lyrical simplicity, aiming to just have a good time and tell a girl how tasty she is. However, whilst the lyricism behind So Sweet may suggest that this quartet could become the indie scene's trashier, dirtier and stankier boy band equivalent, that doesn't seem to be the point of this track nor the band itself. Rather what they are attempting to create musically is a visual image, one that's bubblegum pink but is as sexy as the red lipstick that that bubblegum is popping over. It's funky, it's noisy, and maybe most importantly it's flirty, in an attempt to both draw on such rock and roll luminaries as Elvis Presley and The Doors whilst mashing in the fuzz from the likes of Twin Peaks or Fidlar. Fundamentally, they're endeavouring to fuse together the so dirty it's good style of late 70s rock together with archetypal garage punk riffs. 

The boys themselves

With a track that's as groovy and distorted as this, it's easy to see the direction the band are taking, leaving behind the awkward, in-between, baby steps band phase in an attempt to become a fully fledged artists (i.e. 'make money without getting real jobs' according to their bassist) with a style that is their own. In the most literal sense the foursome themselves are the embodiment of that song The Steve Miller Band sang about being a space cowboy and speaking about the "pompatous of love". This sound seemingly relies on just how four musicians can relay that feeling you get when you tongue the person you fancy, and the taste it leaves.

In short it's thick, stylistic and might just be the sound of the best sex you've ever had...

Taste the sugar and spice for yourself:
Callosum Closure / Soundcloud
Callosum Closure / Facebook
Callosum Closure / Instagram 

Music Menses

It's that time of the month again (even though we skipped a month....) where we take a good look at some groovy tunes made by bloody good creators.

Fat Whites
Source: derricksantini

This month we are greeted with a fresh creation from the beautiful degenerates scrapped straight from the glory hole, one Fat White Family. Having left fans waiting over a year for a new album, the band have released a mere snippet of their glorious spew up 'Song's for Our Mothers', consisting of heroine addictions, references to Hitler's suicide and the spectre of an austerity victim.Whilst there has been longing for new content it's clear the album's creation has drained the band physically and psychologically, driving them so hard into the ground some of the band almost ended up on their death bed. We can, therefore, only expect a stomach churning mastery to come from an album that has been so highly anticipated by their fan base, who are just as indignant and anarchistic as the band themselves (myself included).

The fragment of the album the fans are greeted with, Whitest Boys on the Beach, is an indication of the collected mayhem that is come. The song is full of layers, as per Fat-White-Family-usual, it's like being smushed in the face with moist towel used to wipe the sweat off the face of dead fascist, by the hands of insurgents who killed him. Made up of Lias' eerie lyricism sang through his typical unsettling murmur, behind the hum of synths and the relentless drone of fuzzy guitars, the song shows off the band's solid roots dug deep in the time of synth-pop and electronic rock, as well as being stuck in the ways of cowpunk and psychobilly. In this way the band have combined both distinct elements of such artists as DEVO and Talking Heads with contrasting bands, like The Gun Club, as well as echoing such previous songs as Wet Hot Beef  Pt. 1 and Cream of the Young. 

Whitest Boys on the Beach
Source: TheQuietus

Although the Fat Whites have been performing Whitest Boys on the Beach for a while now, with the build up to the album the band have released the song as a single as well as releasing video for the song this month. The song's history is not as controversial as the song has made out to be, the band themselves have said the inspiration for the song stems from literally being the 'whitest boys' on the beach inBarcelona, however Lias explains: "If it is construed as political, then I'm glad it is. Why shouldn't it be... The song was inspired by a completely different situation, but if the song ends up being construed as about who's white enough to stay on the beach, then so be it." With recent developments in politics and music the song, whether purposeful or not, slaps modern culture in the face with an ox-tongue so hard it knocks some cold, much needed sense into both indie music scene as well as our so called 'democractic' society. And baby it hurts so good, we are ready to embrace the harsh reality of human futility with the Fat White Family. Let's get down and dance 'to the beat of human hatred.'


You can caress the Whitest Boys on the Beach in your soft palms on the 15th January 2016. On the 22nd of the same month 'Song's for Our Mothers' will be released for all your Mother's needs.

Watch the Whitest Boys on the Beach video through this exclusive interview: Whitest Boys
Keep yourself updated: Fat Whites

Drenge at The Electric Ballroom

Drenge M8
source: www.theguardian.com

In one of the hip-est parts of London, Camden Town, there lies a nook in the wall which contains the Electric Ballroom- a Tardis-esk, rock n roll nightclub that seems like the ideal venue for the grunge trio Drenge. What with its dipped lighting and walls slathered in red, the 'scuzzie' aesthetic sets the perfect tone for a night rife with carnage. The band entered the music scene as a duo emitting enough teenage angst and aggressive witticism to pump out sounds that echo bands such as the grunge pioneers Melvin, the naughties infamous Milburn, and fellow duo Bass Drum of Death. The band released their first self titled album, 'Drenge', back in 2013 establishing themsleves as a band renowned for aural chaos and the rage-y pummelling of drums. In more recent developments the Loveless brothers have joined with bassist Rob Graham, refining their sound whilst keeping their feet firmly in grunge roots. This progression is materialised within their newest release 'Undertow', which catalysed their latest tour.

As a gig venue The Electric Ballroom is one to note down for generations, not to be hyperbolic. Its history and notoriety is formed on the back of rock musicians and their fans, with the likes of The Cramps, The Virgin Prunes and more recently Royal Blood performing there its popularity comes as no surprise. With a variety of standing options, even balcony window frames, its a great venue for any kind o' gig goer.

Big Deal.
source: www.hitthefloor.com

If you arrived fashionably late to the venue, never fear, there was still a chance to claim a space amongst the soon-to-be unruly crowd and would have made it just in time to see warm up band Big Deal. Big Deal are known officially as a duo, comprised of Kacey Underwood and Alice Costelloe, and what with two albums successfully under their belt the band have secured a reputation to be "more grunge than gooey". What with equal male to female ratio of band members (initially just a duo and now a quartet) and armed with fuzz tones for days it came as no surprise they put on an enjoyable show, complimenting the sounds that were soon to follow.

Crowd chaos.
source: www.gigwise.com

With the temperature of the crowd already rising- due to sheer capacity- Drenge's entrance on stage couldn't have come sooner. They Kicked off the night with Running Wild, which did in fact make crowd go 'wild' (I'm sure they would have run too given half the chance), transforming the crowd into a sea of failing limbs and catalysing the first shower of beer. The trio stormed through an impressive sixteen song set list made up of old and new, including faves I Wanna Break You In Half, Gun Crazy and Bloodsports, as well as new crowd pleasers The Snake and Never Awake. The theme of night seemed to embody the band's recent hit We Can Do What We Want, whereby the crowd thrived on aggression, ignored all the rules, and relentlessly gave each other a good old mosh bollocking. After bloodthirsty periods within the mosh and circle pits, slower tracks were much appreciated and thankfully received with a hearty howl-a-long to such songs as Fuckabout and the finale Let's Pretend.

Despite the minimal crowd interaction, the band's rebellious persona didn't go unnoticed, however nor was it scrutinised, rather the crowd merely embraced their presence, no doubt, finding their nonchalant attitude relatable. When attending a Drenge gig you should expect a night of (very enjoyable) pandemonium, to leave with a shirt dripping with sweat and a few souvenir bruises, and maybe feeling as though you've been broken in half.

Go find them:        https://bigdealmusic.bandpage.com
                     https://twitter.com/drenge
                     https://www.facebook.com/drengeboys
                     https://soundcloud.com/drenge