Creatively fusing the heavy hit of metal with the experimental nature of alternative EDM, Feed The Weird drives with a decidedly cinematic style on this album – one that feels immediately well-suited to the Mad Max or Dark Sci-Fi corners of entertainment.
From the power-chord progressions of PussyCat HotRod, the roar of metal contrasts with layers of detail that add a level of intention and set the scene accordingly for what follows.
As the project goes on, structure plays a key role in setting things up in a captivating, increasingly interesting manner. The title track emerges with a simple, haunting riff, and a distant, echoing vocal that skillfully fuses elements of grunge and emo-rap in a brilliantly relevant way. Balancing emotion, poetry and that cinematic backbone, the track fills the room with subtle intensity, and backs up the heavy intro in a likable manner.
Throughout the rest of the album, fragments of sound design reappear to keep things familiar and involved in the conceptual core of the project. There’s a simple, late-night vibe to many of the lyrics, and the mood of the music follows suit.
A hint of Limp Bizkit kicks in for Bonnie Rotten, then you get redirected once more for the sarcastic and deeply personal Zombie – hip hop takes over in full, adding a smooth flow and a rhythm that breaks up the intensity from before and adds further eclecticism to the playlist.
As an act, F.T.W combines all manner of influences, essentially leading with an uninhibited and creatively free approach. This helps give the whole thing a powerful undertone – you never know in which direction things will move, and yet always there are these distant, reverb-soaked threads and vocal familiarities that keep it all connected.
Snowing In Florida is something of a highlight for its accessibility, and the softness and melody of Red Eyes works beautifully afterwards.
The mastering finish on the project offers a slightly home-made vibe, tipping its hat to the likes of Lil Peep as much as the early Nine Inch Nails days and a few other legends along the way. What intrigues amidst this is the story-telling, the vocal play, the mild and unpredictable theatrics.
Nowhere Noir is another highlight, ambient and a pleasure to escape within. Then you get the lighter, mainstream hip hop optimism of Got Me Thinking – a rare moment in which you directly realise the personal, honest and human nature of the lyrics; you become aware of the artist, the individual behind it all.
G.A.T reverts back to the strength of an effective guitar riff; quickly inviting for its simplicity and ambiance combined. There’s a sense of rising anticipation, and the vocal outpouring more than delivers on setting the scene and holding tight to your attention.
There are a number of different producers on this project, which adds further creative flair, yet still the whole playlist fits well together – artistic choices made accordingly, depending on the concept and mood of each track.
Love Potion leads with precisely the sentiments implied by its title, then to finish things up you get the hard-hitting, striking and anthem-like experimental aura of Anarchy You Can Dance Too. F.T.W make sure to recapture any wandering minds, balancing a heavy soundscape with a distant, delicate vocal melody. The louder you listen, the further into the moment you fall. Another highlight, boldly cinematic and unexpectedly energizing. A great way to finish, and a final reminder of the underlying concepts that inspired the whole album.
F.T.W undoubtedly make their own rules, and break them whenever necessary. The album is refreshing, heavy yet occasionally light, and consistently well-suited to late night escapism; the deep thinkers, the insomniacs. Well worth a look.
