The crowd are certainly receptive, paving the way for the night’s first and only instance of crowd surfing. Their second single and the demo which got them noticed by producer Dan Carey of Tame Impala and Franz Ferdinand fame, this is a tightly-wound guitar anthem which at this early stage could still go down as the band’s greatest achievement. Towards the end of the set the band decide to play their ace in the hole: ‘The Zoo’. Where some of these tracks feel like filler on the album, in a loud, cramped and sweaty backroom they take on a life of their own. There are moments of pure adrenaline: Jay Clifton’s eerie, ethereal bass of ‘Drinking Games’ owes a lot to Peter Hook, while ‘The Queen’ is a boisterous love song that gets the crowd moving. The band’s opening gambit pays off, with slow, moody instrumental ‘I.D.’ rising and falling before gathering pace. Musically there are similarities too the ferocious yet disciplined riffs reveal a band contained within the same methodical bubble. But what they lack in studio sheen they more than make up for in the D.I.Y atmosphere of East London’s Moth Club.įEWS have been repeatedly referred to as successors to Interpol, but getting up on the Club’s tiny stage the band’s general appearance is more that of Foals frontman Frederick Rundqvist’s nervous energy and demeanour on more than occasion conjure up images of an unpredictable Yannis Philippakis. Their debut album Means released last year is a Hodge-podge of contradictory tracks which occasionally veer on brilliance. While some of this crass stereotyping can be attributed to FEWS, there is a sense that the four-piece from Malmo are doing just enough to keep their heads above the general din. The genre that launched a thousand Strokes tribute acts has fallen out of fashion in recent years, following a spell in the mid-00s when young, disillusioned white males were being factory farmed on an industrial scale for their neat guitar riffs, catchy hooks and lyrics brimming with vague grievances and disillusion. Carey assumes the role of the mad professor subtle bleeps and codes punctuate the production, initiating their call to action.It’s a brave band who throw their guitars on to the post-punk pile in 2017. ‘The Zoo’, a fervent salvo of dark, brooding greatness that sees Fews continue their foray forwards heralding the arrival of their debut album in the first half of 2016. No less ambitious than its predecessor, ‘The Zoo’ rolls in at more conservative three and half minutes, unmasking a postpunk lineage conversing head on with more recent like-minded musical contemporaries. The band’s DIY stance led them to Carey via an anonymous Soundcloud link which, in turn, had him hailing Fews as one of his favourite artists of the year and will see him overseeing the band’s debut album. Summer 2015 the Swedish / American four-piece unleashed their eight minute motorik-induced debut single ‘ILL’ courtesy of Dan Carey’s Speedy Wunderground, bringing them to the attention of more than a handful of parties, securing numerous Track Of The Week accolades along the way. The first fruits of this new partnership arrives in the form of new single ‘The Zoo’. The band, last spotted wowing London’s Brixton Windmill as part of the Speedy Wundergound annual Summer shindig are pleased to announce that they have signed to Play It Again Sam. Fews mark their return with details of a new track and a new label.
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