Nevermen are a trio consisting of Doseone (Subtle, 13&God, cLOUDDEAD), Faith No More’s Mike Patton, and TV on the Radio’s Tunde Adebimpe. The project initiated around 2008, after Doseone had appeared on the 2006 album by Patton’s Peeping Tom project, and Adebimpe guested on ‘Yell&Ice’ (2007) an album by Subtle. The trio announced that they were working on music together in 2008, and in 2009 Doseone announced that they had named themselves the Nevermen and had signed to Lex Records, also home to Subtle. All three members kept busy with their other commitments, most notably Faith No More’s reunion, so fans had to wait until 2015 before hearing the first taste of the group’s music. Singles “Tough Towns” and “Mr. Mistake” finally appeared in 2015, with the latter sporting a remix by Boards of Canada. The self-titled album by Nevermen (who had removed “the” from their name) finally appeared on Lex (in the U.K.) and Patton’s Ipecac label (in the U.S.) in February 2016. It was hard to know what to expect coming into this album between three unique collaborators though an interview with The Quietus had revealed that the group openly rejects the idea of having a frontman, and all three members contribute equally.
The consistent things throughout the album are the tag team effect used by the vocalists, the atmosphere of the tracks which are either icy intense or angry punky adrenaline rushes. It is easy to discern who created which part of the music and what role each vocalist is playing and the roles are always suited that vocalist. However, this never feels like a bunch of elements that are disperate but a whole as if this had been a band that around the years. There is quite an industrial feel to the album, not in terms of the genre Industrial music but the sound palette is quite metallic and there’s a lot of serrated then cutting guitar and synth sounds. The trio skilfully combine hip-hop, metal/rock and punk trash throughout the album.
The album opens with a cold metallic drone, then drums and vocals kick in with Tunde and Doseone the most prominent voices. For the verse Mike Patton take over for a few lines, then Doesone chips before Tunde finishes the verse., this an approach used throughout most of the album. The verse gives way to tribal drums and thin synth melodies of the chorus. Heavy guitars kick back in the second verse ramping up the tension before the drop to a bare guitar melody and bassline rumbling in the background. The sonic assault of the music and trio of tag teaming vocalists could be overwhelming in the hands they said this comes across as a strong album opener.
Up next is the Heavily treated drums and rushing synths of ‘Treat ’em Right’ these underpins trio of vocalists throughout the song’s introduction. Everything drops out to give way for a new more complex and percussive hip-hop rhythm before shifting into a rock style section with trebly guitar melodies. There is barely time to get to grips with one section the track before the next is upon you but is exciting instead of irritating. ‘Wrong Animal Right Trap’ combines thunderous drums and super distorted vocals that give way to heavy punky guitars and bass with the three vocalists harmonising before tag teamming through the rest of the song.
‘Tough Towns’ begins with a shifting synth atmosphere that fades in, eventually joined by glacial hip-hop beat and Tunde and Doseone harmonising. The track is very cinematic and atmospheric with a creepy vibe. It utilises a whole different tempo and tone to the other material so far, showing that the group is far from a one trick pony. The shift in tone and tempo continues on album centrepiece ‘Hate On’ with its spooky opening harmonies from Tunde which then break down to bells playing a sparse melody and icy atmosphere. A slow and loping beat and more vocal harmonies takeover before speeding up given way to a deep bass and slowly evolving vocal melody. A bit see processed percussion pushes the section forward as more synths join in underneath the vocals. The album the shifts between the more up tempo distorted and tense material and atmospheric slower tracks.
This is definitely album that can only really be made in the last decade, a modern melding of multiple genres and production techniques that pulls no punches. Compare to Young Fathers & Saul William’s “Martyr Loser King”. Along with Adrian Younge’s “Something about April II” this is an essential release in 2016. Go get it!
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