Woof.

Having gained a reputation for their frenetic live shows, South Londons Fat Dog have managed to distill some of that energy for their debut album. They were aiming to create anti-intellectual music, meant to be interpreted by the body and not the mind. While they were mostly successful in that endeavor, its hard not to be engaged mentally when the music is so evocative and imaginative; the body may move first, but the mind follows shortly after. With imagery that is often intense and sometimes violent or unnerving, WOOF. is a labyrinthian experience, but with enough urgency that it flies by like a fever dream. Its easy to compare the band to other mainstays of the punk/dance intersection, with dashes of the Prodigy and Underworld. However, few other records have come close to the sheer absurdness of Late of the Piers Fantasy Black Channel, representing a tour de force in unexpected twists and unrelenting energy. Calling "Vigilante" an explosive opener is an understatement; after an impassioned call to arms, Fat Dog launch straight into peak intensity. That doesnt stop them from introducing unexpected influences, with "Closer to God" displaying a flourish of klezmer in a brief whirling melody that builds momentum. The refrains on album standout "Wither" are pitch-black, "the whole team with us, the whole team dies" being a particularly haunting thing to scream into the mic. With the introductions out of the way, they allow a brief respite on "Clowns." Swelling synths and bass accompany frontman Joe Love at his most vulnerable, albeit surrounded by crackheads and clowns. As much as the band want to continually let loose, this shows they have an appreciation for pacing, as it leads into the albums epic centerpiece, "King of the Slugs." An off-kilter melody underpins propulsive percussion, leading into a cavernous dream sequence in the midsection before launching into a deranged second half. Seven minutes seemingly flash past, and there isnt much breathing room before each wave comes crashing down. They offer another heartfelt moment on "I Am the King," which would otherwise cause whiplash if the album hadnt already primed itself for drastic turns. Even then, the absurdism isnt far from the forefront as Love claims "Im not crying for you, I just watched Karate Kid 2" amidst burgeoning synths. Where any track could serve as a mission statement, "Running" stands out as the quintessential Fat Dog experience, with multiple crescendos, violent imagery, and a synth that sounds like the titular woof. Its all rather unhinged, but the band have promised nothing short of madness, and that has certainly been delivered. This is the kind of music that demands your attention and will actively grab you to shake off the cobwebs, a torpedo to the skull that jolts you awake. The groups reputation as Londons craziest live act is not overexaggerated -- the fact that theyve managed to capture that energy on record is exhilarating. Theyve bottled the spirit of chaos that has been haunting the masses in these uncertain times, catalyzing it into something that can be collectively expunged. ~ Liam Martin

熱狂的なライヴ・パフォーマンスが注目を集めているサウス・ロンドンのバンドによるファースト・アルバム。ヴォーカルはカルトチックな妖しさを放ち、リズミカルな歌詞と性急なグルーヴは聴き手を狂乱にいざなう。ガレージ・ロック、テクノ、インダストリアル、2トーンといったさまざまな要素がちらつくサウンドは、勢い一辺倒ではない引き出しの多彩さを窺わせる。ライヴのハイテンションとポップソングとしての聴きやすさを共立できているのは、ジェシー・ウェアやブラーなど多くの作品を手がけてきたジェイムズ・フォードが上手くプロデュースしたからだろうか。
bounce (C)近藤真弥