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New Music: Fairchild

November 19, 2014

Music | by Sophia Miles

Six piece indie rock troupe Fairchild hail from the sub-tropical sunshine harbouring Queensland, Australia. This is appropriately reflected in their penchant for delivering songs filled with shimmering guitar hooks and soaring choruses, evoking the glittering turquoise hued waters backed onto pristine golden sand beaches adorning the aforementioned Gold Coast region.

Lead vocalist Adam Lyons joins older brother Nathan Lyons on keys, guitarists Patrick Huerto and Tim Voeten, bassist Tommy Davies and drummer James Alexander on their follow up to debut EP ‘Burning Feet’ released back in April with the ‘Sadako’ EP (released on 17th November). Mixing duties again fell into the hands of Catherine Marks (Foals, Wolf Alice) as a continuance of their mash up of introspective moments in juxtaposition with expansive chorus soundscapes.


Lead track ‘Arcadia’ – supported by an innovative stop-motion video capturing the vibrancy of the record – bounds in with frenetic dual guitar overlays, pounding drum beats and palm muted echo effects suitably reminiscent of ‘Holy Fire’ era Foals. The instrumental cacophony partially dissipates making way for meandering vocals, underpinned with feverish electro rhythms and lurching into powerfully sustained refrains, imitative of Leeds’ cult mid noughties disco-rockers The Sunshine Underground.

The following songs on the ‘Sadako’ EP are what set the band apart from any comparisons to commercially acclaimed dance floor rock contemporaries. The embryonic layers of slow burner ‘Outside’ comprise an atmospheric jangling guitar swelling to a vocal depiction of aching frustration as Lyons sings, ‘If it seems like no one will let you win, just scream it louder’. Staccato guitar notes are then interspersed for a broodingly reflective tone.

The contrasting sentiments to the energetically infectious ‘Arcadia’ continue on ‘Stay Young’, incorporating electro pulses and stabbing guitar notes, which underpin the cries from Lyons to embark on a mind-set of eternal youth. This segues into the sombre tendencies of ‘Waiting For It’, which teasingly threatens to erupt above the pounding bass drum throughout, until the outro, where crashing instrumentals appear amid sky-scraping vocal shrieks.

Penultimate track ‘Strangers’ has an intro which encapsulates Radiohead style acoustic subtlety, before juggling sonar pulsed electro with a blend of elevated and resonating vocal dynamics alongside shifts in guitar pacing for an exhilarating rush.

The filtering synth landscapes of the increasingly thundering ‘Running Bear’ close an EP portraying a band capable of disseminating a contrasting mixture of sounds within their output to date. Hopefully this promises that future releases will give us a refined sonic texture for this group, who have much more to say than many of their currently revered peers.


Jamie Boyd