Fat White Family have returned with their second album, Songs For Our Mothers. A mix of psychedelic and hauntingly chilling tones follow through the entirety of the band’s new LP.
‘Whitest Boy On The Beach’ is the first track, allowing a combination of modern, synthesised and mystical tones to appear. Progressing into repetitive hook with echoed vocals, which are gradually defined throughout the track, it suddenly changes into a slower and hushed phase, despite its busy conclusion.
Succeeding, is ‘Satisfied’, with its confused vibrations, creating an envisioned, psychologically damaged circus sound to match the haunting lyrics. Harmonised vocals on the echoed background; the disjointed guitar to match the eerie lead vocals. Similarly, this is also seen within the following track: ‘Love The Crack’, pursuing the haunting vibrations likewise seen within the prior song.
From these first few tracks, it’s evident that a haunting beginning is purposely meant to be interpreted, progressing into lighter material in the succeeding songs.
Despite the harmonised vocals remaining, an alternative approach to the psychedelic tones is seen within the following number, ‘Duce’. Bass notes drop, progressing into almost Bollywood inspired sounds, though through their vocals, a disturbed, hauntingly distorted noise lingers in the background. Finishing on disjointed chords, the finale only adds to the ghostly aspects of the track.
‘Lebensraum’ ensures a much less haunting, though further tranquil scene. Although still echoed, the vocals are much gentler, continuing within the next song: ‘Hits Hits Hits’. Having both an increased synthesised and synthetic sound to this song than the prior, this song becomes more upbeat and less distorted; contrasting with the following, ‘Tinfoil Deathstar’, introducing elements of funk yet distortion alongside it.
Both the haunting and chilled tones previously heard are mixed within ‘When Shipman Decides’, although it works – extremely well, too.
Almost a rollercoaster effect is created from the beats of the tracks. Again, ‘We Must Learn To Rise’, transcends into a darker track; with almost orchestral music emphasising this. ‘Goodbye Goebbels’ introduces vocals to paint the goodbye to the listener, with this track ending the album, with the music ending on a monotone mood.
A mix of psychedelic, hauntingly yet individually beautiful tones to the tracks proves that this album is definitely worth a listen.
Songs For Our Mothers is out now via Without Consent.