Review | KEG – FUN’S OVER

Label: Alcopop! Records

By Toby Furlong

London-based collective KEG have arrived on the scene with the glorious rabble-rouser that is ‘Fun’s Over,’ showing that the post-punk sound still has the potential to blossom into something strikingly original. The concoction of off-kilter jazz, synth pop and bombastic art-punk infuses across the entire album leading to moments of genuine intrigue.

In many ways, the album’s opener ‘Photo Day’ is the perfect introduction to the world that is being crafted. The track is a satisfying interplay between Charlie Keen’s discordant trombone and Albert Haddenham’s incendiary vocals: “Piss stains down my nice new winter vest”. Add in the volatile drums of Jonny Pyke and you are chucking a live hand grenade into the mixer.

‘Father Charles‘ and ‘Mr and Mrs Raleigh‘ are glorious curiosities managing to sound equal parts a cross between Tindersticks meets Boards Of Canada. On such a wonderfully eclectic album it never feels as if these slower spoken word inclusions are interrupting the flow at all.

It is with ‘Plain Words’ that what KEG are trying to achieve on ‘Fun’s Over‘ is fully realised, with its MGMT styled keyboards hinting at a dance odyssey. The track blossoms at every turn with Keen’s despairing vocals: “It was supposed to be funny” mutating into a phenomenal wild howl.

The single ‘Skybather‘ is a perfect example of how Charlie Keen’s jazz leanings create this perfect space for the bands instrumentation to completely shine through. It is on inclusions like this and ‘Kayaking‘ where KEG embrace this jazz influence and those moments of wondrous intrigue emerge.

Contrary to their previous releases, ‘Fun’s Over‘ takes its time, allowing them to showcase the orchestral leanings of the band, melding textures and battering ram rhythms, whilst all the time managing to hone their carefully manipulated balance of chaos and order.

Less than forty minutes after ‘Photo Day’ kicks things off, it is all over, and you are left sitting there with a huge grin. Let’s put it down to the power of perfect chaos. All credit should firmly be given to KEG for truly defining a sound all of their own.