To the uninitiated Febueder might not make a lot of sense.
For starters, the mysterious name is a collection of random letters picked simply because they “liked the construction of the letters together”. And, where most bands would be nailing that Nirvana chord-progression in a mate’s garage, this group of nineteen year olds’ sound is a sophisticated blend of throbbing bass licks, baritone harmonics, clanging percussion and concise sampling which ultimately transforms itself into four commanding examples of weirdo pop.
Three friends from Ascot who have a shared love of skateboarding; Kieran Godfrey (vocal, guitar), Harry Summersgill (Bass) and Samuel Keysell (Drums) started the band in a somewhat conventional way with each member obtaining various bits of equipment before forming a band ‘felt like the right thing to do’.
Following the release of 2013s “Soap Carv” E.P which saw the band progress from bedroom jammers to critical acclaim on both sides of the Atlantic, the band returned to home and Kieran’s parents conservatory that doubled up as the band’s recording space. Faced with a 7pm curfew on all practices, Febueder were forced to seek alternative spaces to play. Hence the introduction of ‘The Tunnel’, an abandoned relic of the town’s industrial past, isolated and perfect for practising. In what sounds like a Lynchian post-apocalyptic nightmare, Febueder would jam, literally down this infamous network well, into the night. A place Kieran fondly recalls as having “really nice natural reverb”. This isolated setting and recording the Lilac Lane EP using a budget Shure SM57 mic (‘It’s the only mic we own’ the band say) has had a dramatic influence on their sound, allowing the band to experiment with temperatures, vibrations and techniques.
First single ‘Owing’ is a track penned on the virility and domination of being an Alpha Male. It’s a shuffling poly-rhythmic assembly of organic sounds with DIY instruments ranging from a skateboard to a wine glass. In the hands of most, this technique might be a cheap trick to get people talking, yet in the hands of Febueder these field recordings are so convincingly entwined into the matrix of the track that these inanimate tools become majestic instruments of sonic composition. Moving away from household instrumentation into full blown brass samples, ‘Brazilia’ sounds like a party descending into quicksand. Discordant trumpet, throbbing bass lines, distant whistles and rich harmonies ebb and flow. This is a band prepared to play with expectations, challenge you with phantom sounds and twist the perceptions of pop music.
Taking this sonic exploration to the stage was always going to be the tricky part. Yet despite their age and just using a simple bass, drums and guitar set up, the band really excel, creating something powerful and bass driven. Stripping back their live recordings and wailing with lust, they’re like a modern Howlin’ Wolf or Son House put through a blender – a more sinister Alt-J experimenting with the early syncopation of Foals perhaps.
With the Soap Carv EP introducing you to the world of Febueder, the Lilac Lane EP drags you further down into the tunnel. Who knows what direction these three young men will have taken when they come back up for air.
released October 13, 2014
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