Bristol synth worrier’s second March release sees the light of day
To put it bluntly this is the album of the year so far. Or to put it another way, this is the album that has been on the most this year. I totally understand its nearly April and there are a lot more albums to come, but so far, this is kicking the shit out of the rest of the competition. Sorry rest of the competition, but it’s true. You better start pulling your socks up if you want to win the all-important thisyearinmusic album of the year!
What Matt Williams has effectively done here is take some abstract ideas, synths, drum machines and guitars, along with a shoestring budget production techniques and a total disregard for conventional music and created something that is places is terrifying and exhilarating. Opening track Like Fire has an oppressive drone intro, then Williams’ minimal shouty vocals enter the mix, a beat adds tension until its conclusion. This is the perfect opening gambit for this album. It says “This isn’t going to be an easy ride. You might not like the next 50 minutes, as this is one of the more conventional tracks”
Dead Eyed Dog and Pony Show starts off with a swirling synth, and the sound of a continuous alarm. Is the alarm to warn us off, or to tell something about our intrusion? Williams’ echoy vocals propel the track until ends with a loop that’s reminiscent to the Halloween/Exorcist theme. Rejoice in Much sounds like Wayne Smith’s Under Me Sleng Teng bassline, but on speed, with wonky vocals and 4/4 beat.
234inadumbcodebecuzgoodmorning is a semi-instrumental track, the lyrics are “ohhhhhhhh“, that possibly typifies the album 100%. It’s white noise, that through clever production and filters takes you on a wild ride, where at its conclusion contains one of the catchiest moments of the album. Dysphoric Thrumm is a spoken word piece in which a female narrator explains why the modern world is fucked up. At the end she says that she “has to go as the pavement is coming very fast”. You can draw your own conclusions; however there is an element of humour to it, in a surreal, satirical Chris Morris kind of way.
What Williams has done on Fuckup Rush is to showcase not only his brilliance as a producer and arranger, but as a story teller. The album is a mirror to the modern world. Yes it is brutal and frightening, but there are also elements of calm and beauty there too.Each track is filled with peak after peak, and the sound keeps building. It’s conclusion isn’t the one you might have expected, but it is one it deserves. While this isn’t for everyone it is still an amazing album, even if you do need some quiet time after.