Fairhorns is Bristol based musician and multi instrumentalist Matt Loveridge. To date Matt has released 30 albums and EP’s on multiple labels including Invada, Bumtapes, Deathbombarc, Zamzamrec, Fuckpunk, LF, Valeur de Usage, Stitch Stitch and his own record label Kindarad, and is best known for his work for the band Beak (including Geoff Barrow from Portishead), as well as with Robert Plant’s Billy Fuller. Under the name Fairhorns, Matt has toured with Owen Pallet supported Matmos, Lee Ranaldo and was handpicked by Portishead to play ATP festival in 2012. Matt’s music exists in many incarnations including Team Brick 2002-10, Klad Hest, Gnar Hest, Knife Liibrary, Speed the Plough and MXLX. March 2015 will see the release of the second Fairhorns album, ‘Fuckup Rush’, Matt’s fourth release since late 2012, which will be released on Kindarad Recs.
First track ‘Like Fire’ shows us instantly what we’re in for, as it starts slowly and quietly, followed by unexpected voices shouting “what?” and “fire”. The music and vocals are incredibly in sync. The track leaves is wondering just how ‘fucked up’ can ‘Fuckup Rush’ be? But we don’t need to wonder for long as we’re about to find out…
Computer sounds, spaceship noises, malfunctioned electronic devices, and other sounds you wouldn’t expect, Loveridge includes them all in this rollercoaster of an album, which is like nothing I’ve heard before and nothing I imagine I’ll hear again. Everything feels like a build up to something, but when you reach that something it’s another build up – Loveridge is messing with your mind.
‘Dead Eyed Dog and Pony Show’ is one of the most stand out tracks for me, inclusive of a continuous exhilarating but woozy tune running through it similar to that of Perfume Genius’s cover of Mary O’Hara track ‘Body’s in Trouble’. ‘Fuckup’ is an incredibly disturbing album, vocals range from Loveridge’s barks to shouts, often incoherent, as are some of the instrumental sounds. ‘234inadumbcodebecuzgoodmorning’ being a perfect example, as it appears to be built on a layer of white noise, it almost startles you as it begins on what can only be described as the sound of someone who has fallen asleep on a keyboard. How does Loveridge make it work? I don’t know, but he does. It’s almost as if special effects replace instruments, being played as if they are a prominent instrument in a band.
‘Dysphoric Thrumm’ is another stand out track, in which Loveridge’s vocals build up to the rant of a female vocalist about the modern world, who just before the track ends states that she has to go because the pavement is coming very fast – somewhat of a suicide letter in another dark and disturbing track. Last track ‘Culture Plague’ ends the album on a high note, with a more positive sounding track with features a consistent drum beat, and estranged horns slightly resemble bagpipes.
You have to give it to Loveridge, his imagination and willingness to experiment are wonderful! Loveridge deserves mass amounts of credit for refusing to conform to the standard song writing and recording procedures. Matt’s described ‘Fuckup Rush’ to be all about Fairhorns’ hunger to be music’s fastest moving target, “shying away from the motorik of miserable ease prevalent” on first album ‘Doki Doki Run’, embracing fury and chaos, which are definitely heard throughout the album. ‘Fuckup Rush’ is a challenging listen, but it’s well worth it.
“This is a joyous mess but it’s ours” – Matt Loveridge
Release date: March 30th
Twitter: @Fairhorns
