Still, fuck it, that’s the nature of media in the 21st Century I guess, and I write this blog because I enjoy writing it (yes, still, even after ten years) not because I particularly expect anyone to really read it or care about it. It’s just fun to do.
I love Deathcats, I have to confess. It’s funny when you find a band you like, sometimes you just jump in head-first dribbling about how they are TEH MOST AWESUMEST EVA!! but in this case, as sometimes happens, I thought ‘yeah, oh wait woah steady there, oh hang on no they really are ace’. If you, er, know what I mean.
You’d think that after ten years of writing about music I really would be a bit better at it by now, eh.
But my initial enthusiasm for the band was tempered a little as I tried to figure out exactly what they were all about. Initially I just heard the latest hipster guitar band out of Glasgow, basically. That’s no criticism, I happen to love hipster guitar bands as you well know, but it is still a fairly definite pigeonhole, and one which it turned out they didn’t entirely fit – just enough to be deceptive, though!
Initially I heard nasty, surfy garage rock all drenched in reverb. It was well done, with some absolutely ace tunes and an awesome live show, but the retro mixture informing a lot of these tunes has a slightly different makeup to a lot of the other hipster guitar music I am into, and that is British 90s indie influences. People think of British 90s indie as being mostly Britpop, and I suppose to a large extent it is, but it is most definitely not cool to be a Britpop revivalist.
But in amongst the surf and the typical US indie influences, these guys seem to have absorbed a healthy dose of British indie rock from that period as well. Ian, who helps me run the label, said to them after a gig a year or so ago that they sounded really quite like Ash at times, before hurriedly pointing out that in their early days Ash had done some really good stuff, and he wasn’t trying to criticise them.
I was maybe at my most uncertain about the band at that point, but then they released The Raddest EP a few months ago, and it was absolutely ace. A couple of their most ebullient pop songs and a surfy instrumental jam hinted just a little about where the band were going, and subtle variations of style aside, the EP contained plenty of strands which have come together so well in this album.
As well as Deathcats usual boisterous pop tunes, All Hail Deathcats is actually a really well-assembled album. There are two-minute belters like the awesome Danny Dyer – the kind of thing we know them for already – but then there are sludgey wig-out instrumentals, and the music drifts from surfy tunes to more British-leaning stuff like the album opener Solid. These variations mitigate the fact that the songs are all really short and pretty much all delivered at full throttle, preventing the album sounding a bit samey and making sure it doesn’t wear out your ears.
So it’s a really well-done album, this. And not just musically, but in every sense. Deathcats have never really been embraced by the Scottish musical establishment really, but instead of hopping up and down waiting to be noticed, they’ve just kept right on doing their own stuff and putting it out themselves. This is released on Fuzzkill Records who have also worked with Fruit Tones, Future Glue and CLEAVERS, but I think the label is just basically a pal of the band’s from uni.
So after ploughing their own furrow with a genuine sense of not giving the slightest shit about who else took notice, they’ve now gone all the way and released a really, really good album as well. And finally, after GoNorth, I had Vic Galloway turning up at the Paws album launch in a Deathcats t-shirt telling me how awesome they were in Inverness, and asking if I had heard of them. ‘Yes Vic,’ I said, ‘I’ve put them on in Edinburgh twice now. You should come to more of my shows.’
You should all come to more of our shows. They’re awesome. We put on bands like Deathcats.