Some type of music or musicians can’t be defined by a single genre as they blend many together such as Talking Heads, Bowie or Black Country New Road. Fonts are the new name to add to the list. Coming from Austin, Texas the quintet consisting of Jack Owens and Logon Wagner on percussion, Roman Parnell (Bass), Anthony Lawrence (Multi-instrumentalist) and front man Thom Waddill. Touring with the likes of Yard Act, Horsegirl and CHAI the band are known for their live shows which with their debut ‘Strange Burden’ they try and translate blending the likes of new wave, punk and rock but giving it their own spin expanding on what has been done before.

Building their own art space called ‘All the sudden’ allowed the band to sculpt their craft as well as put on performances and art shows. Taking from the Talking Heads writing process helped with the unique sound which is ever on present on ‘Hey Kekule’ which as Thom explains,” I had recently read that Cormac McCarthy essay ‘The Kekule Problem’ about a German chemist who dreamt an ouroboros and realised the molecular structure benzene was a ring.” The unique influences show what the band are out to create.

‘Strange Burden’ clocks in at 28 minutes which is unusually short for an album however masterpieces like ‘Pink Moon’ by Nick Drake and ‘A Hard Day’s Night’ By The Beatles are just as short but know how to captivate a listener. Its evident from the first listen Fonts try something different. 

‘The Golden Calf’ starts with synths that sound straight from a sweaty Berlin techno nightclub or out of an eighties sc-fi movie before Thom’s vocals enter bringing a childlike innocence with a pulsating beat is behind. The guitars swing through like a hammer and so does a rasp to the vocals which brings an anger.

The simple yet effective playing of the keys show what the listener is in for on ‘Hey Kekule’. Yet again the drums and synths work together to create a dancelike track similar to what Talking Heads would have done. The bizarreness of the lyrics can be attributed to an essay. The build up of instruments whilst Thom screams over creates an immersive experience like its off ‘In Rainbows’ before the return of the beat.

‘Looking At Engines’ starts with just the drums which is a mellow start compared to the rest whilst sounding like King Krule. The use of the triangle is a nice touch before the chaos returns as the vocals change between calmness to anger. Before, a quick change of pace whilst Thom sings ‘I hate looking at engines.’ The song then returns to its mellowness once more before the build-up yet again.

The infectious beat of ‘It’ creates a Daft Punk like experience before the orders are barked at the listener. The guitars then slam in whilst the rhythm system remains tight. The song builds up abusing the ears if you listen with headphones, but music isn’t made to be played quiet, is it?

The tour with Yard Act must have rubbed off on the band as ‘Sentence I’ sounds something they would churn out. The story like lyrism creates an adventure for the listener which the band are more that happy to take you on. ‘It’ build ups once more with the instruments clashing together before it hits an abrupt end.

‘Cattle Prod’ returns to a mellower sound to start with Thom’s vocals sounding worried whilst a drum beat occupancies him. Before the introduction of guitars and bass creating a fuller sound, which gives an understanding why ‘noise-pop’ is a genre they often come under. The sound returns to just Thom and the beat showcasing how strong his vocals are before everything comes together to create a rich noise for the ears and boosts the vocals.

‘Natalie’s Song’ starts like ‘Room on fire’ era Strokes before Thom gives a rap like delivery which is further highlighted by the hip-hop like beat.  The use of cowbell is never not needed as Blue Oyster Club would say. The lyrics create a sense of isolation which contradict the sound the band make.

‘Strange Burden’ is chaotically brilliant. Each song sounds like its own entity but work together well combining many elements from different genres, yet it is its own thing. Dance like beats with swirling guitars backed by a tight rhythm system is all an album needs in this case. Iconic bands like Joy Division and Black Sabbath created their own unique sound and now Fonts have done the same.

Font: Strange Burden: Out 12th July 2024 (Acrophase Records)