Evidently enamoured with The Sunflower Lounge and Yampy Promotions, the Bristol-based MOULD returned to Birmingham for the second time in 5 months to play a headline show with support from local band Jazzcat.
Jazzcat’s set opened strong with ‘Concave’, quickly followed by the thrashy, unreleased ‘No Promises’, featuring bassist Jack Brannon on vocals, met with resounding applause. Fan favourite ‘Scratches’ was instantly recognised by the audience huddled in The Sunny’s basement, its echoing intro punctuated by whoops of joy from the expectant crowd. A highlight for me had to be the performance of their newest track, the unreleased ‘Throw It Away’, written only last week. With no idea what to expect, the garage-rock opening riff and punchy kick and snare knocked you back immediately. The contrast in Jack’s spoken, shouted, gritty vocals and Jaimie Jagger’s melodic counter vocals creates such push and pull, then beautifully resolved with the lush harmony between them on the chorus refrain of ‘throw it away’. Jazzcat closed out their set with recent single ‘Waste’ whose funky rhythms had the crowd absorbed by the music and restless with the energy of the song.
Fans of Fontaines D.C., Freshwater, and Sweet Pill may love their sound and their clearly growing catalogue of work.
For those unfamiliar with MOULD, I would best describe their sound as a fusion of Britpop with punk to create a skippier, edgier, but distinctly British and industrial sound, punctuated by guttural screaming vocals. The heartfelt nature of British industrial and indie combined with the raw power of hardcore music creates something truly unique.
They teased their upcoming but unannounced single, opening with captivating tremolo picking and twinkling electronic playback track to accompany. The body of the song rests on a hazy, relaxed guitar riff, complimenting Joe Sherrin’s stylised, spacey, Bowie-like melodic vocal. The secret B side to their vinyl pressing of ‘Float’, MOULD treated the crowd to a curation of fan favourites and sneak peaks of what’s to come.
When I asked others what they thought of MOULD’s performance, the repeating word seemed to be ‘meaty’ – and I wouldn’t disagree. MOULD are performing music you can really sink your teeth into. As a 3-piece, their music sounds so much fuller than their deceptively compact lineup. Joe Sherrin provides a fascinating lead and unusual voice to the band. I personally loved to see a whole band at times contributing to the vocals – it isn’t often I get to see a drummer on backing vocals and it brings me great joy every time. Layering their vocals together creates a rich and cacophonous sound. Snappy drums catch you off guard and crashing cymbals lead the tension and release of their songs. Their machine of a drummer in James Luxton pushes the music on with relentless momentum. Rumbling through the whole set are their strong baselines and bassist Kane Eagle’s funky moves – ska footwork, whole body shivers, the bass guitar weapon stance, and the classic rocking back and forth – which fill the room with energy.
Indie and Britpop fans of Feeder’s writing, Straw’s production and ultra-specific style, and The Fratellis’ iconic swagger will love the vision behind MOULD’s live and studio work. If approaching MOULD’s work from the worlds of Midwest emo and punk, consider MOULD the intersection of Soft Play’s vocals, and the instrumental work of a lightly djent-inspired Modern Baseball or Title Fight. Regardless of where you’re coming from, MOULD’s incredible range, spanning bright edgy Britpop and the throws of experimental alt rock, with a filthy baseline and smashing drums, is sure to connect with you somehow.
MOULD’s debut album ‘Hoping as a Coping Mechanism’ will be out on July 10th.