Fat White Family
Songs For Our Mothers (2016)

Fat White Family — Songs For Our Mothers (2016)

  Fat White Family — Songs For Our Mothers  Fat White Family — Songs For Our Mothers (2016)?   Album ‘Písně pro naše matky’ je naprostým zmatkem vodorovně bičujícího deště bez pláště. Už zde není ulice plná plášťů do deště, ale plná deště hustých melodických linek s přitakávající basou. Je to jako v okultním filmu, kdy víte, že už jen z principu se děje něco hrozného, ale nevíte, co to je. Musím zvolat: Sláva! A je tam taky kus poctivé legrace. Pět zvrácených ježků jižního Londýna kontaminujících vše, co bylo doposud vkusné v indie–rocku. ‘Písně pro naše matky’ jsou štiplavou připomínkou toho, že špatný vkus vždy hrál důležitou roli v undergroundu. Špinavá elektrická basa, stěží rozeznatelné texty, kryptické zpívání, tento sortiment je teď skladem a co už může víc šokovat? Kevin Orton dává málo, John Platt dost a já dávám ještě o čtyři desetinky více: 8.9. “Love is the Crack” je pomalý pohřební pochod zhuleného T.Rexu s přihlížejícími Sparks. Uvidíme, co album způsobí za pár měsíců... /Vrcholná píseň je “Tinfoil Deathstar” s kombinací zpěvu, recitace, kvílících kytar a neúprosného rytmu. A když po něm následuje opilý valčík “When Shipman Decides”, jsem mrtev okamžitě. Craig Caukill, vedoucí managementu labelů pro [PIAS] řekl o kontraktu: “Fat White Family jsou ohromně vzrušujícím problémem, kapela má úžasný potenciál a jasnou uměleckou vizi pro label — jsme potěšeni, že můžeme s nima spolupracovat.” 10 písní, objev roku.                         © Lincoln Hall in Chicago Photo 1 15 16 by Kirstie Shanley
Location: London, UK
Album release: January 2016
Record Label: Fat Possum Records/Without Consent/[PIAS] Australia
Duration:     46:24
Tracks:
01. Whitest Boy On The Beach     4:53
02. Satisfied     3:41
03. Love Is The Crack     4:19
04. Duce     6:41
05. Lebensraum     2:47
06. Hits Hits Hits     3:40
07. Tinfoil Deathstar     3:59
08. When Shipman Decides     3:43
09. We Must Learn To Rise     7:11
10. Goodbye Goebbels     5:30
?   Fat White Family have have said of their second album  ‘Songs For Our Mothers’, “While our first LP might be considered an assault, a spasmodic outpouring of disdain generated by the utter tedium of life when it is found unlivable, Songs For Our Mothers is an invitation. It is an invitation, sent by misery, to dance to the beat of human hatred. In it we ask that you take us gently by the hand as we lead you on a journey, a journey that leads us from the blinding white heat of a midday Mediterranean shore, to the embattled boudoir of Ike and Tina Turner, from the clotted grey droll of Dr Harold Shipmans waiting room, to the final hours of the Third Reich in the Berlin bunker. It is as much a catalogue of our obsessions as it is a sensual odyssey; sex, drugs, politics, death, the Northern Irish A–lister Sam Neil, it's all here, all that’s left to do now is breathe it in.”
Review
Paul Mardles, Sunday 24 January 2016 08.00 GMT;  Score: ***
Fat White Family: Songs for Our Mothers review — the modern Throbbing Gristle
?   As the song titles (Goodbye Goebbels, When Shipman Decides) on Fat White Family’s second album show, the south London squat–rockers love to provoke. Songs for Our Mothers, then, is nothing of the sort, its grimy fusion of Germanic disco (Whitest Boy on the Beach), demonic swamp rock (Duce) and drug–addled noise (We Must Learn to Rise) positing the band as a modern Throbbing Gristle. What they’re trying to say isn’t always clear — are they sixth-form shock merchants or more profound? — but the five–piece most impress at their least confrontational. Hits Hits Hits, inspired by abusive relationships, is loose–limbed psych–funk with a shot of creepiness. ?   http://www.theguardian.com/
Also:
Kevin Orton, Score: 7.0
?   Yea, it’s another shambolic, obnoxiously warped Fat White Family album. True, their albums are never coherent, are in a constant state of disarray and shamelessly puerile. That said, they’re never dull and always compelling to eavesdrop on. So what’s not to love?
?   The opening track, ‘Whitest Boy on the Beach’, sounds like a mix of PIL and Pulp. ‘Satisfied’ is Depeche Mode if they went techno alt–country. ‘Love is the Crack’ is a meandering and seedy attempt at a ballad.
?   The doomy ‘Duce’ brings The Stooges’ ‘We Will Fall’ to mind with a little S&M thrown in, ending in orgasmic, psyche atmospheric noodling. A glorious bit of noise that goes on for nearly seven pointless minutes. Lebensraum reminds me of those twisted, lo–fi Country numbers the Mekons used to do in the 80’s on albums like Honky Tonkin’. In fact, in its attitude and sonically speaking, Songs for Our Mothers reminds me of the Mekons’ Fear & Whiskey and Edge of the World albums.  Raw and DIY. Having mentioned the Mekons, the other the influence I hear the most is early Fall. These guys are guaranteed to appeal to fans of Mark E. Smith.
?   The woozy Hits Hits Hits is without a doubt, the catchiest tune on the album. However, it’s hard what to make of Tinfoil Deathstar, a wild tone poem collage of weirdness that goes in one ear and out the other. When Shipman Decides on the other hand, is inspired weirdness Perverted Lounge Music on tranquilizers. One of the best tracks on the album. Had me cracking up. We Must Learn to Rise is the soundtrack to a hangover from hell. If only it didn’t overstay its welcome, clocking in at over 7 minutes. Frankly, I have no problem with long songs, but despite some beautifully gloomy guitar, in the end, it’s a bit of a slog. The sarcastic anthem, Goodbye, Geobbels ends the album with another Mekons style Country ballad. Barbituate laced and atmospherically lo–fi. One that goes out of its way to be offensive in a way only the Fat White Family can pull off.
?   Suffice it to say, Fat White Family are never pleasant to listen to. That's not the point. They’re the opposite of easy listening. Like Captain Beefheart, they’re out to deliberately ruffle your feathers. Their DIY brand of deranged satire isn’t for everyone. Most definitely not your Mother. Unless she’s really cool. On occasion, they’re a bit like a proctologist who enjoys his job too much. But they have a scruffy charm and a sense of humor to pull them out of any quagmires they lay for themselves.  Like previous Fat White Family offerings, Songs for Our Mothers is an utter mess. A glorious one. And fun too.
?   http://soundblab.com/
Review
By John Platt / 18 JANUARY 2016, 09:30 GMT / Score: 8.5
?   Songs for our Mothers delights in the disgusting.
?   It runs on the impulse that makes you sniff the old kebab from under your bed. The desire that makes you look at whatever you’ve pulled from your nose before throwing it away, or eating it, your choice. It has the twisted, purile sexuality that makes a Take a Break headline like “Stepdad Made Me His Sex Slave” eminently marketable. It’s the impulse that drew them to their subject matter: the bruised paradox that is an abusve relationship. And on this holiday to hell they found a mirror to themselves.
?   Don’t let the A&R hordes fool you, they’re no blank cheque. Fat White Family don’t have ‘crossover appeal’. Booking agents across the globe look at Lias’ flash of muff last Glastonbury, his dead eyed stare and perma–nude torso. They see his flailing limbs and flying gobs of Guinness. They do mental calculations.
?   You see, Fat White Family have a suicide pact. For one they’re riddled with carcinogens, un–oxides, freebases; they have every Daily Mail death knell covered. They quite possibly have rickets and look so malnourished the Red Cross have been sniffing around The Queens Head. The band seems on the verge of unravelling. Dale Barclay, the virulent Amazing Snakeheads frontman had to step into Saul’s hole, when the hedonism took its toll last year. They’re self–flagellating, self–sabotaging, self–deprecating nihilists. And they’re here to scream it, six inches from your face.
?   For another thing, their album is full of Nazis, dictators, serial killers. They clearly have no desire to enamour themselves with middle England’s emerald corner of the internet.  For that’s where the vitriol will come: but dig a little deeper and it’s evident every Nazi outfit or threat to join ISIS is backed by Saul’s gap toothed grin.
?   It’s that twisted smile that makes “When Shipman Decides” sound like a muzac luau for the end of the world. Even in its title it stares straight into the abyss, into the soul of the man holding the scythe. The satanic waiting room is given a true crime feel with lilting lyrics like “sit down my dear/there’s nothing to fear” and “your family is fine/ just losing their minds” and it all comes at a slightly uncomfortable speed, not quite minor, not quite major. It’s on a slack Hawaiian keel, with a lap steel sway, pompous horns and a straight face: an outlet for their black humour.
?   Sonically, Songs for our Mothers has a two faced, twin peaks character; a ‘slightly off’ beach town by day with a dark secret coming out at night. Following the drunken come–on of “Love is the Crack” is the militaristic “Duce”, complete with what sounds like Oppenheimer’s Güiro. “Whitest Boy on the Beach” is psychotic surf rock, but punctured by guitar stabs like one trollyfull of dynamite crashing into another. And directly after follows the slinking, perverted, “Satisfied”, a darkened funfair, a Wurlitzer burlesque in the mould of “Touch That Leather”.
?   The phrase ‘a more mature sound’ doesn’t really seem appropriate (and I can’t bring myself to say anything like ‘polished’), but there is a definite sense of evolution from the first record. Perhaps it’s because no tracks sound like they were recorded using a tin can, but the album carries genuine heft. “Hits Hits Hits” is a barbiturate blues which oozes in and out to light ‘oooh ooohs’, and any number of tracks will tear apart any number of venues on the Fat White’s mammoth tour.
?   And it remains that, despite the influence of internet buzz in their rise, this is still very much an IRL band. They haven’t quite found the key to recording that live sound, and they lack a tiny something without Lias’ every corpuscle howling. “Tinfoil Deathstar” is one of the album’s highlights; space organ, rumbling bassline, falsetto–psych vocals. Live it takes on a different dimension. Lias gobbles the mic to make shrieking, industrial hollers, and the sound careers into a distorted noise rock and subsequently off a cliff. All of this, of course, topped with his Ian–Curtis–meets–Iggy–Pop–at–a–séance act. The same goes for any number of songs, live they’re just a different beast, once the boys have had a few.
?   It’s a very modern paradox that means, in our desire to see more, to know more of artists, we understand less and what we do see is façade. We see sanitised, Instagram–ready lifestyles, authored Facebook posts and pull quotes. Decadence and hedonism come under strict lab conditions. It’s been a decade since anyone bought a record but from this hasn’t come the predicted kaleidoscope of independent radicals. In its place has come diversification, affiliate marketing: you no longer buy Bieber records, you buy brand Bieber.
?   And this softly softly approach, with the motto ‘mustn’t anger the sponsors’, has made modern rockstars little more than Cliff Richard with bottle service and sleeve tattoos. Maybe we’re in our own abusive relationship, with our musical heroes. Maybe we’re the one with the black eye.
?   The Family have, in the parlance, brand continuity. They have online presence. But it’s from the bottom up, rather than top down. What makes them special is that it’s organic. Their music is an extension of themselves, pure id, and that’s what makes them so enthralling. This is the sound of a death–or–glory headlong charge. The two fingers at everything, no fucking filter. They could fall off stage at any moment. They may die tomorrow. Despite possessing the strongest ‘buzz’ in years they may never make any money. But Fat White Family are definitely going to hell.
?   http://www.thelineofbestfit.com/
Facebook: https://www.facebook.com/FatWhiteFamily
Press:
UK press: Natalie Quesnel: UK online: US publicist:
Agent:
US: Robby Fraser /
Jay Belin / 
ROW Andy Cook,
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Fat White Family
Songs For Our Mothers (2016)

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Erik Griswold — All’s Grist That Comes To The Mill (03/20 2020)
Varga Marián — Solo in Concert (1. feb. 2018)
Joe Bonamassa & The Sleep Eazys — Easy To Buy, Hard To Sell
Midwife — Forever (April 10, 2020)
Moondog — On The Streets Of New York (Feb. 14, 2020)
Damon Locks Black Monument Ensemble — Where Future Unfolds (2019
Meredith Monk & Bang on a Can All~Stars — Memory Game (03/27/20)
Pharoah Sanders — „Live In Paris (1975): Lost ORTF Recordings“
I Like to Sleep — Daymare (April 17, 2020)
MoE/Mette Rasmussen — Tolerancia Picante (March 25, 2019)
The Tiger Lillies — Cold Night in Soho (10 Feb. 2017)
The Tiger Lillies — Edgar Allan Poe’s Haunted Palace
Sarah Jarosz — World On The Ground (June 5, 2020)
Kate Amrine — This Is My Letter to the World (Jan. 24, 2020)
Fiona Apple — Fetch The Bolt Cutters (17 Apr., 2020)
The Tiger Lillies — Covid~19 (April 10, 2020)
Veneer — Recovery (April 15, 2020)
Siobhan Wilson — The Departure (10 May, 2019)
BC Camplight — Shortly After Takeoff (24 April 2020)
Siobhan Wilson — There Are No Saints (14 Jul, 2017)
Brendan Benson — Dear Life (April 24, 2020)
Ali Holder — Uncomfortable Truths (April 10, 2020)
From Atomic — Deliverance (April 2020)
Whyte Horses — Hard Times (17th of Jan., 2020)
Gerald Cleaver — Signs (March 27, 2020)
Sophie Tassignon — Mysteries Unfold (April 24, 2020)
HOUPACÍ KONĚ: SOULKOSTEL 8 11 2019 (April 25, 2020)
Sarah Longfield — Dusk (April 22, 2020)
Ariel Pink — House Arrest (2002/Mar 2011/April 24, 2020)
All The Best, Isaac Hayes (A Spoken Word Album)
Prophecy Playground — Comfort Zone (Feb. 15, 2020)
Mark Lanegan — Straight Songs Of Sorrow (8th May, 2020)
Genesis Revisited: Live at The Royal Albert Hall — 2020 Remaster
Joan As Police Woman — Cover Two (May 1, 2020)
Kuře v hodinkách — Flamengo
Kuře v hodinkách — Flamengo
Devon Williams — A Tear in the Fabric (May 1, 2020)
Johanna Warren — Chaotic Good (May 1, 2020)
emozpěv — Spolu (1st May 2020)
THE LEAGUE OF ASSHOLES — UNPLUGGED (1st May 2020)
Morgan1
Zuzana Mikulcová — Slová
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
Cocteau Twins — Victorialand (April, 1986, Reissue 2020)
Coloured Clocks — Flora (May 2, 2020)
I Break Horses — Warnings (08 May 2020)
Hawkwind — Acoustic Daze (25 Oct. 2019)
Indoor Voices — Animal (Feb. 14, 2020)
I Break Horses — Chiaroscuro
Einstürzende Neubauten — Alles In Allem (May 29th, 2020)
100 Gecs — 1000 gecs (May 31, 2019)
Evergreen — Overseas (15 Jun 2018)
Kurt Rosenwinkel Trio — Angels Around (May 8, 2020)
The Feather — Room (10 July, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Kaitlyn Aurelia Smith — The Mosaic of Transformation (May 15, 20
Kaitlyn Aurelia Smith — The Kid (October 6, 2017)
Mr. Alec Bowman — I Used to Be Sad & Then I Forgot (May 1, 2020)
György Ligeti — Lontano (22. Oct.,1967)
OWEN PALLETT — Heartland (March 3, 2014)
Badly Drawn Boy — Banana Skin Shoes (22nd May, 2020)
A.O. Gerber — Another Place to Need (May 22, 2020)
Kaleidoscope — Faintly Blowing (11 April 1969, Reissue, Remaster
Perfume Genius — Set My Heart On Fire Immediately (15th May 2020
Perfume Genius — No Shape (5 May, 2017) BC
Perfume Genius — No Shape (5 May, 2017) FC
Sungazers — Wasting Space (May 18, 2020)
Cermaque — Lament (22nd May, 2020)
Mountaineer — Bloodletting (May 22nd, 2020)
Jetstream Pony — Jetstream Pony (May 22, 2020)
Steve Earle — Townes (May 8, 2009)
Steve Earle & The Dukes — Ghosts of West Virginia (May 22, 2020)
Sixth June ‎— Trust (17 Jan 2020)
White Tail Falls — Age of Entitlement (May 29, 2020)
Weyes Blood — “Wild Time” from Titanic Rising
Nicole Atkins — Italian Ice (29 May 2020)
Deerhoof — Future Teenage Cave Artists (May 29, 2020)
Deradoorian — Find the Sun (Sept. 18, 2020)
Bob Dylan — Rough and Rowdy Ways (June 19th, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
This Will Destroy You — Vespertine (June 9, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Yoko Ono, Kim Gordon & Thurston Moore — YOKOKIMTHURSTON
Psychic Markers — Psychic Markers (29 May, 2020)
The Memories — Pickles & Pies (May 29, 2020)
Songs for the Late Night Drive Home (Feb. 5, 2016)
Spc Eco — Dark Matter (Nov. 20, 2015)
SPC ECO — June (June 1, 2020)
Yves Tumor — Heaven to a Tortured Mind (April 3, 2020)
Norah Jones — Pick Me Up Off the Floor (June 12th, 2020)
Larkin Poe — Self Made Man (June 12th, 2020)
Ezra Furman — Sex Education [Original Soundtrack] (April 24, 202
Endless Field — Alive in the Wilderness (June 12, 2020)
Wesley Gonzalez — Appalling Human (June 12, 2020)
Noveller — Arrow (June 12, 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Andrej Šeban — Triplet (March 22, 2019) inner cover
Andrej Šeban — Triplet (March 22, 2019) cover
The Crossing & Donald Nally — James Primosch: Carthage (05/2020)
Jerskin Fendrix — Winterreise (April 17, 2020)
Zoongideewin — Bleached Wavves (June 19, 2020)
ULRICH SCHNAUSS — A Long Way To Fall — Rebound (3rd April, 2020)
Sports Team — Deep Down Happy (5th June, 2020)
Wrekmeister Harmonies — We Love to Look at the Car (2020)
Midlake — Antiphon (Nov. 4, 2013)
ANASTASIA MINSTER — Father ©Michael Haley
Jessie Ware — Glasshouse (Deluxe; 20 Oct 2017)
Teen Daze — Morning World
Jessie Ware — What’s Your Pleasure (June 26, 2020)
Art Feynman — Half Price At 3:30 (June 26th, 2020)
Bo Ningen — Sudden Fictions (26th June, 2020)
Khruangbin — Mordechai (June 26, 2020)
Pottery — Welcome to Bobby’s Motel (June 26th, 2020)
Orlando Weeks — A Quickening (June 12, 2020)
John Craigie — Asterisk the Universe (June 12, 2020)
Kavus Torabi — Hip to the Jag (May 22, 2020)
Nadine Shah — Kitchen Sink (June 5, 2020)
Paul Weller — On Sunset [Deluxe Edition] (3rd July, 2020)
Corb Lund — Agricultural Tragic (June 26, 2020)
Christine Ott — Chimères (pour ondes Martenot) (May 22, 2020)
The Beths — Jump Rope Gazers (July 10th, 2020)
Ashley Paul — Window Flower (May 13, 2020)
Grey Daze — Amends [Deluxe Edition] (July 3, 2020)
Grey Daze ©Photo credit: Anjella / Sakiphotography
Ajimal — As It Grows Dark / Light (June 26, 2020)
Ajimal — As It Grows Dark Light (June 26, 2020)
Eleanor Friedberger — Rebound (May 4th, 2018)
ELEANOR FRIEDBERGER — NEW VIEW (January 22, 2016)
Immigrant Union — Judas (June 19, 2020)
Julianna Barwick — Healing Is a Miracle [Japan Edition] (2020)
Neil Young & Crazy Horse — Colorado (Oct. 25, 2019)
Neil Young — Homegrown (19th June, 2020)
The Jayhawks — XOXO (July 10, 2020)
Joy Division — Closer (40th Anniversary) [2020 Digital Master] (
Daniel Bachman — The Morning Star (July 27, 2018)
Daniel Bachman — Green Alum Springs (June 6, 2020)
Becca Mancari — The Greatest Part (June 26, 2020)
Ytamo — Vacant (June 12, 2020)
Bright Eyes — Down In The Weeds, Where The World Once Was (Aug.
Thin Lear — Wooden Cave (24th July, 2020)
Devendra Banhart — Vast Ovoid (July 24, 2020)
Cub Sport — LIKE NIRVANA (24 July, 2020)
Sara Serpa — Recognition (June 5th, 2020)
Sara Serpa, Ingrid Laubrock, Erik Friedlander — Close Up (2018)
Klara Lewis — Ingrid (1st May 2020)
Buju Banton — Upside Down (June 26, 2020)
Son Lux — Learning Structures vol. 1~4 (Oct. 11th, 2019)
learning structures, vol. 3 distance between us (Oct. 11, 2019)
learning structures, vol. 2: end firma
learning structures, vol. 3: distance between us
The Boomtown Rats — Citizens of Boomtown (13 March, 2020)
Ralph of London — The Potato Kingdom (19th June, 2020)
Mike Polizze — Long Lost Solace Find (July 31, 2020)
Land of Talk — Indistinct Conversations (July 31, 2020)
The Heliocentrics — Infinity Of Now (Feb. 14, 2020)
TANYA DONELLY: Swan Song Series bonus tracks (FC)
The Heliocentrics — Telemetric Sounds (Aug. 7, 2020)