East London-based post-punk outfit Folly Group are devoted to pushing limits. In difficult the normal post-punk sound — weaving in trip-hop, dub, dance, and Afro-Cuban rhythms — they’ve additionally set themselves other than the style’s DIY scene rising round them within the U.Okay. In live performance, they proceed to defy expectations — lead vocalist Sean Harper sings brashly from the drum equipment whereas bassist Tom Dorehty and guitarist Louis Milburn head the entrance of stage, every delivering punchy elements alongside dynamic percussionist Kai Akinde-Hummel. It’s a fantastically chaotic steadiness, with highly effective symbiosis in every member’s output, one that creates a heavy, intoxicating rhythm part from all angles. Today, the four-piece launch their debut LP, Down There!, tapping into a brand new degree of trustworthy lyricism, taking up subjects of alienation in Britain to the beat of an more and more creative sound.
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In celebration of the brand new LP, Folly Group’s Sean Harper sat down with AP to element songs that inspired its creation — or as he calls them, “red flagcore.”
Iceage – “Simony”
Plowing Into the Field of Love was an enormous document for teenage me. “I’ll Do What I Can,” the second single from our album, Down There!, left its fingerprints throughout “Simony.” I’m without end catching myself singing alongside to the “a million regrets” hook within the refrain, a lot to the amusement of my classmates at clown college.
Martha Skye Murphy – “Stuck”
Martha’s implausible. I’m so excited for a full-length undertaking. This track balances the attractive and the uneasy so effortlessly. I may most likely study lots from this track about how to not muddle an association, to be trustworthy.
Stina Nordenstam – “Under Your Command”
I like this track. It doesn’t stroll a line between settling and comforting, a lot as be each in equal measure directly. It’s a fantastic instance of how a further post-production course of dedicated to manipulating and screwing up conventional band instrumentation can actually disembody the devices and make them sound alien in a manner that can’t be achieved with software program alone. We began having enjoyable with that thought on Down There!, and I hope we lean into it additional sooner or later.
Cooly G – “Love Dub”
Evidently, this has nothing in widespread, sonically talking, with what we attempt to do. I actually wished to incorporate it as a result of it’s so synonymous with London for me. It’s 2010, I’m 12, I’ve walked to WHSmith in my small city and acquired my first subject of DJ Magazine. This is included on the CD compilation caught to the quilt. It got here to signify this imaginary model of London I daydreamed about and appeared ahead to getting caught into someday once I was sufficiently old to maneuver. Our album’s sure by this imaginary underground London, and I hope it feels as synonymous with the capital to me in 10 years as this observe nonetheless does. Masterpiece.
Big Ups – “Goes Black”
When I used to be 16, I began falling out of affection with dance music quickly as a result of this undertaking I had was getting all critical and industry-y, which was spoiling the enjoyable. In a very reactionary manner, I went deep on the grunge and punk I’d at all times additionally beloved, however extra passively. I went on a discovery spree, and this is among the songs that helped me understand performing heavy music should be actually enjoyable. Sure sufficient, it’s.
Vessel – “Red Sex”
An wonderful train in temper by repetition. Sebastian Gainsborough is among the U.Okay.’s most underrated digital musicians. Then once more, he did co-compose the soundtrack to The Northman, which hopefully means he’ll grace a bunch extra movies sooner or later. I’m actually grateful to Lou, Tom, and Kai for humoring my love for this type of factor within the van.
Massive Attack – “Dissolved Girl”
This is my favourite track of theirs. The manner it bleeds by Neo’s headphones as he naps on his desk within the opening minutes of The Matrix was by some means the vibiest factor I’d ever seen once I first watched it. Been chasing that temper ever since. The bassline does all of the heavy lifting on this tune, and I lifted closely from it, vibes-wise, a minimum of, for a observe on the album referred to as “Nest.”
Daughn Gibson – “All Hell”
We do various sampling in Folly Group. This observe is a masterclass in constructing a pop track. structurally talking, out of samples and doubles as essentially the most overtly sinister pop track I can suppose to call proper now. Murder music.
Ioanna Gika – “Roseate”
We’ve spoken earlier than in regards to the affect varied strains of digital music have on our stuff. This track’s a superb instance of channeling that inspiration in service of one thing else. At first, it’s like baroque pop replete with harps and lyrical allusions to falling statues. There’s a stress that pushes and pulls, however the momentum by no means stops constructing, and all of it culminates in an angelic, apocalyptic gabber climax that towards all odds doesn’t sound remotely compelled.
Exploded View – “Disco Glove”
An completely unforgiving groove beneath an air-raid siren guitar (possibly?) half by an Anika-fronted band signed to one of many best labels to ever do it. This track was engineered in a lab to enchantment to me. I’ve beloved it for years.
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