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!
Let me know what you think of “Nevermen” in the comments or via Twitter.
Since her debut release in 2010 Tokimonsta’s sound has evolved starting out as a glitch-hop producer who went on to become the first female producer signed to Flying Lotus’ Brainfeeder label she’s in moving towards a more commercial sound since 2013’s “Half Shadows” album which was released on dance label Ultra. “Fovere” sees her continue this evolution while also referencing her past in glitch-hop.
Acoustic piano, processed vocals, heavy use of reverb and slick transitions are common traits thorughout “Fovere”, Tracks are short, tight and to the point, never outstaying there welcome, Most tracks stick to a fairly minimalist style, which is refreshing when compared to the maximalist EDM that currently dominates pop music.
‘I’m waiting’ opens with ascending synth arpeggio with spots of heavily processed vocal weaving in and out of the mix. The general vibe is very relaxed and ambient. However, for the final third bass drum and snare become much more prominent in the mix and propel the track towards its climax.
Next up, is ‘Put it down’ feat. Anderson Paak & KRNE. This is very much a club track, it starts with quick ascending plucked string and shuffling beat with Anderson Paak’s vocals coming in shortly after. The track then drops to a more straight ahead beat with a good swing, and a hook that will get stuck in your head. Stutter vocals come in on the second chorus giving the song more rhythmic variety and more electronic feel. This is easily Tokimonsta’s best club track to date and stands had the shoulders above the other tracks in the same style on this mini album. ‘Giving up’ feat Jonny Pierce begins with guitar and sighing harmonics from Pierce. Then the track breaks down with fast-moving high has slow-moving bass line consent atmospherics underpinning the vocals this picks up into a chorus featuring tightly timed piano arpeggios and finger snaps. Towards the end of the track two different vocal tracks intertwine while and an 8-bit synth line adds further melodic sophistication. Been true in general vibe reminds me of Leeds band Stateless, who did kind of cool Coldplay meets trip hop album from 2007. Second electronic track I know of that features Johnny Pierce of the drums, the first being a Matthew Dear track called ‘In the middle (I met you there)’
My favourite non club track on the mini-alum is ‘Straight Lace’ as it reminds me of earlier Tokimonsta tracks. Compressed squelchy beat and airy synth open the track and are then jo9ined by a nice percussion loop and reverb heavy piano chords. Occasionally we hear Tokimonsta’s owned processed vocals deep in the mix. As the track develops and makes more room for her vocals to become the lead vocals. My favourite tracks so far reminds me of earlier Tokimonsta tracks. Again it’s nice to hear understated track in a genre that just seems to scream LOUDER LOUDER LOUDER!!!
The mini album closes with ‘Wound Up’ feat. Allie with its dirty processed synths that weave in and out of each other before reverb heavy vocal harmonies poemerge into the mix. When the rhythm comes in its in double time and skitters along behind the vocal harmonies, a simple minor sounding melody plays over the top. Then the track gets going properly first with of a strong and full vocals coming in quickly followed by the return of the hi-hats and a snare drum. Lots of pitched vocals in the breakdown before a kalimba melody comes in this section and continues into the final section bringing the track and “Fovere” to their conclusions.
Overall, I feel this is a solid release from Tokimonsta and points towards a bright future where she continues to develop her sound and attract a larger audience.
Let me know your thoughts on “Fovere” and Tokimonsta in the comments below or via Sonic Fiction’s Twitter.
This post is the first of two that mark the end of Sonic Fiction for the foreseeable future and probably forever. It wasn’t an easy decision to make but I feel that as much as I’m still as passionate about all the music reviewed on the site I have to now focus purely on my own music career and improving those skills.
Thank to everyone whose read, commented on and retweeted/favourited/followed Sonic Fiction in its three years in existence. I will still keep the Sonic Fiction Twitter account alive as my own personal account so you can still find out about new music via that account.
Run the Jewels – “Run the Jewels” (Fool’s Gold)
Adrian Younge & Ghostface Killah – “12 Reasons to Die” (Soul Temple)
Black Milk – “No Poison, No Paradise” (Fat Beats)
Action Bronson & Harry Fraud – “SAAAB Stories” (self released)
RJD2 – “More Is Than Isn’t” (RJ’s Electrical Connections)
The Child of Lov – “The Child of Lov” (Double Six/Domino)
Youngblood Brass Band – “Pax Volumi” (Tru Thoughts)
G&D – “The Lighthouse” (SomeOthaShip)
Deltron 3030 – “Event II” (Bulk)
FKA Twigs – “EP2” (Young Turks/XL)