KEG – ‘Fun’s Over’ album review: Ironically, pretty fun
THE SKINNY: You’ve heard the phrase too many cooks spoil a broth, and while the sentiment might be appropriate in some instances, it doesn’t apply to the new KEG album. A band made up of seven people works incredibly well when the noise that you’re attempting to achieve refuses to be confined by genre and is packed with pulsing energy. The increased voices create a layered sound, so in this instance, the more cooks, the better. This is a post-punk gem.
The band has been making music together for years, and that is clearly reflected in the sound that they manage to achieve throughout their record, Fun’s Over. It teeters on the edge of collapse in the most beautiful way. While it’s predominantly a rock album, KEG doesn’t restrict themselves thematically. Each member is constantly pushing sonic boundaries to make the album as chaotic and exciting as possible.
From the word go, the track ‘Photo Day’ makes it clear that KEG is keen on giving listeners something they have never encountered before. The introduction is extensive and atmospheric but breaks into something heavy, funky, and laced with the energy of punk music. It was incredibly exciting to listen to and represent the huge space of this album, which occupies the floor in multiple other genres.
There are some instances where the record repeats itself, or sometimes a song falls flat, but for the most part, Fun’s Over is, ironically, a lot of fun. The multiple directions on the record and the rock-heavy nature laced throughout are hard not to feel encapsulated with. With jagged rhythms and bouncing melodies, it might not be ideal for a Monday, but it’ll wake you up for the weekend.
For fans of: Inconsistency and consistency bundled into one and shaken up like a half-mixed smoothie.
A concluding comment from too many cooks who spoiled a broth: “How did they do that?”
Fun’s Over track by track:
Release: March 12th | Label: Crash Records | Producer: KEG
‘Photo Day’: Ambient horns create an eerie atmosphere. We are gently lifted and placed into this album; it eases you in, an entrance almost cinematic in its magnitude. This buildup is greatly rewarded with a very funky, static, and chaotic drop that causes heads to fry and nod simultaneously. The song dips and rises in and out of this psychedelic funk, but it’s hugely engaging throughout and an incredibly compelling start to the record. [4.5/5]
‘Father Charles’: Short and sweet interlude. Horns and spoken word bridge a gap after such a massive introduction. [n/a]
‘I’d Fly Tip For You’: An incredibly light-sounding and fun instrumentation is laced throughout this song. The track is undoubtedly sweet but also slightly off-kilter as if you’re being raised in the air by a magic carpet that hasn’t been used for a while. [3.5/5]
‘Strangers’: The drums and energy of this song are reminiscent of punk songs, yet the stripped-back horns and vocals make it more accessible than that. The song has an undeniable punch, but it feels like it could fill many spaces, not just the closing walls of a sweaty venue. [4/5]
‘Plain Words’: There is nothing plain about this track, which has a glitchy synth, keys and bass, creating a unique instrumental for sweet-sounding vocals to nestle on top of. This instrumentation is dissected throughout the track with drum rolls and heavy guitar hits, meaning it fits well into the disorder of this record. It’s a great listen that keeps listeners guessing and moving. [3.5/5]
‘St Michael’: One of the more forgettable songs on the album. While it’s fun to listen to and has that undeniable energy packaged within it, it doesn’t do much to stand out when held up against its predecessors. Nevertheless, a fun song. [2.5/5]
‘Mr and Mrs Raleigh’: Another break. A spoken word interlude that keeps the record ticking. [n/a]
‘Giving Up Fishing’: A peculiar beat, simultaneously light and heavy. The bass thumps, but the drums feel incredibly gentle. It makes for something unique that these storytelling lyrics ride atop incredibly well. While it’s enticing, the elongated run time feels like a bit much, as the song struggles to find its feet after the introduction. [2.5/5]
‘Sate The Worm’: Upbeat and rock-infused, ‘Sate The Worm’ is one of the more aggressive numbers of the album. The vocals are at their most upbeat and dynamic, meanwhile the instrumentation is completely unrelenting throughout. [4/5]
‘Skybather’: Clumsy sounding horns are a complete contradiction compared to the heavy nature of ‘Sate The Worm’, which came before. The stripped-back nature of ‘Skybather’ is needed after quite an intense period. While there are still hits of energy in the track, it’s a song you can lean back when listening to a bit more. [4/5]
‘Ferryman’: Not a song for the faint-hearted. Verging closer towards black metal than any of the other styles that have come before in this album, ‘Ferryman’ sounds like a bin has been filled with razor blades and thrown into the eye of a storm. (In the best possible way). [4/5]
‘Bobby’: Our last interlude of the album. They’ve been lovely breaths of fresh air throughout. [n/a]
‘Kayaking’: We leave the album in the same way we started it, with a funky, cinematic and atmospheric number. The record has been an energetic listen, with a few lulls here and there, but for the most part, it’s been a great record with which to feel engaged. [3/5]
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