I first came across The Fierce & the Dead with 2013’s Spooky Action, and I’ve loved everything they’ve offered since. But the band has changed over the years, yet somehow, the more they change, the more nostalgic their music becomes. Their new album Regional Theatre launches on September 11th.
TFATD hail from London. Originally, they were an instrumental band, but with 2023’s News from the Invisible World, they introduced vocals, only adding to their personality. The current lineup is Kevin Feazeyon vocals and bass, Tom Hunt on keys, vocals, and percussion, Matt Stevens and Steve Cleaton on guitars, and Stuart Marshall on drums. Artwork is by Mark Buckingham of Marvel and DC fame.
The band has always featured a kinetic drive to their sound. I think that’s part of what drew me to their music, honestly, all the sweat, grit, and fiery groove. Upon adding vocals, they scaled back the technical aspects a little, but added even more quirk, cheekiness, and underground power. The music now leans into alternative, noise, and grunge rock, but always retains the experimental and progressive sides of their past.
I believe this is their first album with a dedicated keyboardist, as well. Tom’s inclusion means that tight melodies are even more commonplace in their music. I never thought I’d see the day where this band fused roaring, bass-heavy grooves with vocal and keyboard melodies that make you want to sing. But here we are. This album is catchy as hell.
Regional Theatre is full of grit and harmony. It features ten tracks and they’re all wonderful. It starts with the distortion of “Loungeside” with its punctuated riffs that bleed into more expressive guitar work. I love that fleeting sense near the end. The next three tracks are the singles, “The 1234”, “Shake Hands & Exit”, and “Somehow”, and they’re all fantastic. “The 1234” is the heaviest of the three, featuring that old wild drive that is the band’s signature. But then “Shake Hands & Exit” is a bit more emotional, has a little more space, and even has some ambient portions. I love it! “Somehow” is right in the middle stylistically, featuring a strong chorus that is instantly catchy. “Hey Nightmare” closes the first half with a short but chugging piece that is loud and proud.
The second half opens with one of my favorites, “Superbia”. It has a little more nuance, a little more pop sense, a little more harmony. And the handclapping melody that emerges near the end is the icing on the cake. “Dream Sequence” reminds me of the band’s older, somewhat psychedelic pieces; it hovers in shadows and echoes for most of its runtime, though it explodes near the end. “Thrash” is, ironically, pretty reserved, too, with more character and subtle vocal melodies, but also contains a driving portion that reminds me of the band’s Magnet EP.
The last two songs explore their new sound even further. “Hypernormalisation” is heavy yet also contains atmospheric segments that are beautiful and inky black. It’s an exercise in dynamic contrasts, which much of the album is, too. Yet, the closer “Signal Bleed” is softer, pastel, reserved. Choir vocals play a major role as the song climaxes with lush melodies. It is a departure from the rest of the album, but also kinda makes sense. It’s a wonderful finale.
TFATD can never be accused of avoiding change. Their sound has the same basic elements, but they’ve expanded and evolved it considerably. I love the vocals, the personality, the melodies, yes; but I also adore that their old sound can still be found here.
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The PROG Mind 