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Music Review of Fantasy Black Channel by Late of the Pier
“Late Of The Pier” are a four-piece indie rock band from Castle Donington, London. Late Of The Pier are Samuel Eastgate (Vocals, Guitar and Synthesizers), Andrew Faley (Bass and Synthesizers), Sam Potter (Sampler) and Ross Dawson (Drums). All of them have pseudonyms and known as Samuel Dust, Francis Dudley Dance, Jack Paradise and Red Dog Consuela respectively. Late Of The Pier are very much into electronica and their music genres cover indie rock, electronica, synth pop and dance-punk.
Late Of The Pier’s Fantasy Black Channel opens with roaring guitar instrumental “Hot Tent Blues”. It seems that Late Of The Pier have been using a sampler to make this track. The guitar on this track revives the 80s rock scene where it’s filled with pitching and echoic guitar. The bass and drums provide cushion in the background as the guitar plays on. Once it reaches the remaining 13 seconds, the track gallops again but this time, with some start/stop guitar riffs. It’ll gradually bring you to the next track. Very energetic opening!
Once entering “Broken”, oh my god the guitar just brings you on. You couldn’t help it but to move your body to this crazy filler track. Very awesome guitar work i would say. Shortly after that, it’s followed by a series of music created by synthesizers and sampler. Only by the time Samuel enters with his vocals, Broken seems to slow down a bit to allow him to express himself. Broken is filled with various guitar playing, you can’t help but to love this track. Just my first listen, Broken already got me wanting for more. Very addictive!
“Space And The Woods” comes in right after Broken. If I’m not mistaken, it sounds like Late Of The Pier are playing keyboards here. Catchy keyboards playing by them. Samuel has a robotic voice-like as he sings on. When it comes to the part which i assume is the chorus, the guitar just comes in, without affecting the earlier keyboards that we first heard. In the bridge, Samuel sings in a very ignorant voice that goes, “I’m shit hot so say what you think about me, I’m not gonna cry because I don’t care…” It sounds kind of cool here. The music on Space And The Woods definitely matches the previous track. Love the keyboards!
“The Bears Are Coming” has a very cool opening. African-influenced percussion belting with the synthesizers. Once Samuel comes in, it just adds extra weight to the already really good music. After each paragraph of his singing, the music just plays on. And it’s not just some ordinary music, it’s the type of music which is going to at least make you nod your heard. The Bears Are Coming also vibrates some disco-feel to it. In the bridge, Late Of The Pier just takes a short break with the slow tempo and Samuel enters with his yell-like vocals layered with heavy-heart elements, “I saw you wading in the water, i saw you ride along the sea, shine on a nightmare, shine through the trees…” Once after that, the music again kills me on the spot. With some voice in the background, it’s like a party track in the making. Before ending, it seems that Late Of The Pier are not done with the track yet, they just play around with their synthesizers and sampler. Amazing feeling!
On “Random Firl”, the music in the beginning is just way too cute. The synthesizers-influenced guitar are very cheeky as well. If you pay attention, you would notice a slight sound of exclaimation (Like a woman’s gasp) in the background when the music are just warming up to get to the verse. It just sounds so funny to me. Slowly, Late Of The Pier seem to be adding more instruments to this track, making it sounds much better gradually. The cheeky and catchy guitar just work its way throughout the track, very sweet feeling.
“Heartbeat” begins with some 80s-like music before the real deal comes in where Late Of The Pier enter with loud guitar riffs. When it gets to the chorus, Heartbeat seems to get into another level, it gets rougher and groovier here with Samuel going, “A heartbeat, a flicker, a line…. It’s just a line…” in repetition. The best moment on Heartbeat definitely. Entering the second verse, the bass also gets groovier and louder. It just never fails to pump up my blood and the volume. It’s not a line, it’s the music!
“White Snake” has a somewhat slow beginning. But it suddenly bursts with the loud guitar of Late Of The Pier. Samuel also seems to be gasping for air when singing as it’s fast and loud here. The guitar also plays at a speedy rate. When it gets to the chorus, the whole track just loosen up slightly. Piano can be heard playing in a repetition of notes rapidly as the track goes on from here. In the bridge, Late Of The Pier add some creepy music to White Snake, it comes in as a surprise, really. But it’s still good as the track is so fast until it gets you rocking as well. Even Samuel sings and yells like a true rock star!
“VW” continues with some clever music playing. Horn can be heard here as the music goes fast and slow throughout the track. When it’s fast, the horn seems to be louder and the music sounds kind of eerie, as if something bad is bound to happen. When it gets to the slower part, Later Of The Pier seem to be getting ready for the next speedy break. Listening to VW makes you think that you’re running out of time and something bad is about to happen. Dangerously fast!
“Focker” has a very strong electronic influences to it. On the verse, Samuel sings very fast as if he’s gulping down the lyrics. However in the chorus, things get a different approach. Samuel just sings and drags on, “I want to be you friend… Oh yeah…” With the heavy electronic music in the background, sometimes it just drowns out the voice of Samuel. Focker can be said one of the wildest tracks on Fantasy Black Channel. Even the remaining 30 seconds are filled loud guitar and synthesizers, looping and echoing to the end.
“The Enemy Are the Future” has a cute beginning. You would know what i mean after listening to it. It seems that this time Samuel share his vocals part with other members of Late Of The Pier. It has a deep and playful voice once it comes in. As the chorus comes, the whole track as i never expect, sounds very good with the bass going on. With Samuel going in a catchy tone and in repetition, “Easy life, is it an easy life?…”, i feel obliged to sing along as well. I just don’t know why, the way Late Of The Pier play and sing is really good! Needless to say, the music is just great on The Enemy Are The Future. Deeper into the track, it just turns into another track totally. The sampler and synthesizers just hit the invisible magic button as it’s no longer a rock track, it’s a dance track. Very, very highly evolved.
“Mad Dogs and Englishmen” starts with a bell chiming from afar. Sooner than later, the bass comes in and eventually it gets louder with a certain rhythm to it. The guitar and the bass on this track seems to be working together here, layering and covering one another. When the bass goes, the guitar waits; when the guitar goes, the bass waits. The bass especially, makes me smile as it possesses some funny elements in it. In the bridge and until the end, Late Of The Pier just play their stuffs which resulting in some playful and great music. It makes you want to play…
“Bathroom Gurgle” opens with steady drum beats (That resembles “Chelsea Dagger” by The Fratellis) and soon joined by synthesizers. The music itself is already catchy enough to make me want to get up and dance. It’s infectiously groovy! In the chorus, Samuel yells, “Find yourself a new boy…” with the music adding in some xylophone-like sound. I really enjoyed myself listening to that particular moment. Other than that, Late Of The Pier’s Samuel also plays around with his vocals on Bathroom Gurgle as he imitates the voice of females at some points of the track. Few seconds after the chorus, Bathroom Gurgle surprises us with a cheering part that goes, “So put your hands on your waistline, and move you body to the bass line, and get your hands on some cheap wine…” Late Of The Pier really show everything they have on this track. One track that covers a variety of singing and playful music.
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