The easy line to take with London’s Fat White Family is that they make music that’s as vile as they look – greasy, unhinged and anaesthetised. On their messy 2013 debut, Champagne Holocaust, they certainly flirted with grubby, difficult subject matter - including drugs, oral sex and paedophilia - but there was an artfulness and intelligence to the record that distinguished it from other albums seemingly designed to just shock. Plus, they sounded great - like a pub rock version The Gun Club and The Cramps.
When the Fat Whites set out on the road, they became a travelling antidote to what they perceive to be increasing conservatism in British indie rock. Quickly, they found a hungry audience that had been waiting years for a new band properly capable of making a stink. They pulled a huge crowd playing on the John Peel stage at Glastonbury in 2014 and return this year a better - and even more savage - group. Go on, touch the leather.
The easy line to take with London’s Fat White Family is that they make music that’s as vile as they look – greasy, unhinged and anaesthetised. On their messy 2013 debut, Champagne Holocaust, they certainly flirted with grubby, difficult subject matter - including drugs, oral sex and paedophilia - but there was an artfulness and intelligence to the record that distinguished it from other albums seemingly designed to just shock. Plus, they sounded great - like a pub rock version The Gun Club and The Cramps.
When the Fat Whites set out on the road, they became a travelling antidote to what they perceive to be increasing conservatism in British indie rock. Quickly, they found a hungry audience that had been waiting years for a new band properly capable of making a stink. They pulled a huge crowd playing on the John Peel stage at Glastonbury in 2014 and return this year a better - and even more savage - group. Go on, touch the leather.
