“O! I die, Horatio;
The potent poison quite o’er-crows my spirit:
I cannot live to hear the news from England,
But I do prophesy the election lights
On Fortinbras: he has my dying voice;
So tell him, with the occurrents, more and less,
Which have solicited—The rest is silence”
Or as author, Alex Ross, who is actually more interesting than Shakespere (if not quite as poetic) put it, The Rest Is Noise, and in 2014… making a big loud, riotous, noise is back!
Think back if you will to the summer of 2010, the horrifically named rock’n’roll revolution had ground to a halt. Three years had passed since The White Stripes released their final album, The Strokes hadn’t released an album in four years, and The Datsuns were…err…who actually knows what The Datsuns were doing? (I’ve just checked and apparently still going strong, releasing albums on a fairly regular basis to an audience who increasingly couldn’t give a darn). Guitar music was apparently dead, guitar music is always apparently dead…in reality of course that wasn’t the case. The case was something of a quiet revolution…
The folk boom, remember that, Laura Marling, Mumford & Son’s and Noah And The Whale leading a pack of British bands with acoustic guitars, Fleet Foxes & Bon Iver giving the same idea a stateside twist. The fact that it wasn’t really folk music anyway was entirely lost. They were quiet and had beards/acoustic guitars/flowers in their hair, and the world was in a full on Pentangle revival mood. Rock was dead, folk was all, never would we plug in our instruments again! Long live the goddess of folk, real ale and knitting and all who wassail in her.
Shockingly for a musical trend it didn’t last… we know, we know, we’re as surprised as anyone. Here we are now in 2014, and whilst the mainstream media are still desperate to declare guitar music dead, quietly from the underground is creeping a very different beast. People are getting angry, drummers are picking up their loud sticks, guitars are being plugged in left, right and centre, we’re approaching the eye of a very noisy storm…and it’s thrilling!
The likes of Joanna Gruesome, Honeyblood and The Twilight Sad might all be very different bands, but they’re all noisy, and they all play guitars. In 2014, the youth are revolting, the days of being quiet and pleasant are over, they want it loud and they want it angry! Write it off at your peril, to paraphrase Neil Young, hey hey, my my, loud guitars can never die!
A self professed, “scuzzy-pop” band, they deal in thrashy, lo-fi, scuzz-laden music that’s sonically reminiscent of Sonic Youth, whilst maintaining the beating heart of a pop-song, beneath the wall of pure, un-adulterated noise.
They’re from Brighton, which is something of a hot-bed of musical talent right now. Of course Brighton’s most famous musical son is Norman Cook aka Fatboy Slim, and then there’s the mid-2000s landfill indie bands Ordinary Boys, The Rakes and Maccabees. However of late it is producing some superb bands, the likes of Royal Blood, The Wytches and The Soft Walls (who’ve just been on tour with Teardrop Factory) are all currently flying the flag for Brighton, and it’s a very creditable music scene.
Teardrop Factory formed in 2012 and released their debut EP, entitled Topshop on Faux Discx in May last year. Their full-length follow up, Thrash In The Heart, will follow on September 15th. The album will again be out on Faux Discx and it was produced at Church Road Studio in Brighton by Julian Tardo. There’s also a (minor) celebrity masterer in the shape of MJ from Hookworms.
Teardrop Factory deal in a hazy, scuzzy and ultimately very loveable racket. Despite not being American, they follow in the rich lineage of American Alternative-rock. Take latest single, 3AM Coke Dream, it takes a riff that’s not un-like 20th Century Boy by T-Rex, shoves it through a wall of Sonic Youth-ish scuzz, and adds delightfully yelped male/female vocals, it all adds up to make for one of the most thrilling tracks of the year. Elsewhere Tastes Like Medicine recalls The Pixies and Ex-Friends has the sway of a mo-town track, whilst sounding like it was recorded upside down in a cupboard, it’s every bit as delightful as you’d imagine!
Over a full album it can be a little hard to differentiate between the tracks if you’re not listening keenly, and the vocals are so low in the mix, singing along is a bit of a no go! Minor price to pay if you ask us for a thrilling slab of intense and very exciting noise!
Teadrop Factory’s debut album Thrash In The Heart is out September 15th on Faux Discx.