THEIA – The Wet Die Young
THEIA, led, as they still are, by the songwriting, voice and crunching guitars of Kyle Lamley, first showcased their contemporary meets alt rock/ metal sound back in 2013 with two powerful EP statements.
They then went from strength to strength with three, each better than the last, full length albums, culminating in The Ghost Light, one of the best rock albums of 2018 in the ears, and written words, of FabricationsHQ, among others.
However THEIA, no strangers to a festival or three each year and a band with a solid and dedicated fanbase, are also a leading example of the many acts who, no matter what genre they ply their trade in, should be further up the ladder of success.
That’s even more true of late where, in a downsizing and conscious change of musical emphasis the once trio are now the brotherly duo of Kyle and groove-based drummer Ash Lamley (who was the band’s roadie when a youngster).
The new look, new sounding THEIA were first heard on last year’s The Day EP, an interesting and cleverly conceived mix of heavy, groove-driven tracks with thick guitar riffage, treated sounds, a touch of the experimental and a couple of songs The White Stripes would have been happy to call their own.
Now, with The Wet Die Young EP, the band have truly found their sound, one that’s both more unified in approach yet has a wider field of modern alt rock musical vision – a bold eighteen minute, 5 track statement of intent, if you will.
'I’m Plastic,' which flits between hard and heavy beat verses and driving drums and guitars choruses (light and shade with a clever use of dynamics are a major part of this EP’s success) also sports a moody-to-grunge C part that lyrically seems to nod to the could have/ should have THEIA of the recent past ("do you know how it feels after fighting for years… I’ve been close to the top, it was a teenage dream, all is lost") followed by a raw scream of Kyle Lamley anguish).
'Live This Down' then showcases the new found THEIA’s ability to mix and match a heavy dance-club vibe with a huge, punchy rock sound, a nasty (in the best possible way) groove and a distorted, wailing guitar section before heading back to the beat (you could, genuinely, hear Lady Gaga giving this song plenty, but then Miss Germanotta can put her voice to pretty much anything).
'Everything' is even bolder in its Euro-rock dance groove approach, presented here with a topical and on-point attack on the negative side of Social Media ("slander hurts… but since no-one was listening, it’s time to repeat it").
By more uplifting lyrical contrast, 'Tastes Like God,' which starts in contemplative mood before drifting into a simple but highly effective rhythm, describes music, and its power, as an almost religious experience. Believers, atheists and agnostics alike should be singing along to Kyle Lamley’s high-voiced, infectious "music tastes like God!" hook chorus before the song kicks into a weightier C part, setting up a harmonised "nah-na-nah nah-na nah-na" section before returning to the chorus. Great stuff.
The EP closes on the quirky charm of the title track, which builds from a simple acoustic strum and lyric contemplating a weird, dark dream ("water fills up the space in my lungs, I guess the wet die young" – there’s where you get your EP title, folks) to a slice of high-energy pop, another hooky chorus and a return of the sing-a-long "nah-na-nah’s". In short, the best song The Scissor Sisters never wrote.
They then went from strength to strength with three, each better than the last, full length albums, culminating in The Ghost Light, one of the best rock albums of 2018 in the ears, and written words, of FabricationsHQ, among others.
However THEIA, no strangers to a festival or three each year and a band with a solid and dedicated fanbase, are also a leading example of the many acts who, no matter what genre they ply their trade in, should be further up the ladder of success.
That’s even more true of late where, in a downsizing and conscious change of musical emphasis the once trio are now the brotherly duo of Kyle and groove-based drummer Ash Lamley (who was the band’s roadie when a youngster).
The new look, new sounding THEIA were first heard on last year’s The Day EP, an interesting and cleverly conceived mix of heavy, groove-driven tracks with thick guitar riffage, treated sounds, a touch of the experimental and a couple of songs The White Stripes would have been happy to call their own.
Now, with The Wet Die Young EP, the band have truly found their sound, one that’s both more unified in approach yet has a wider field of modern alt rock musical vision – a bold eighteen minute, 5 track statement of intent, if you will.
'I’m Plastic,' which flits between hard and heavy beat verses and driving drums and guitars choruses (light and shade with a clever use of dynamics are a major part of this EP’s success) also sports a moody-to-grunge C part that lyrically seems to nod to the could have/ should have THEIA of the recent past ("do you know how it feels after fighting for years… I’ve been close to the top, it was a teenage dream, all is lost") followed by a raw scream of Kyle Lamley anguish).
'Live This Down' then showcases the new found THEIA’s ability to mix and match a heavy dance-club vibe with a huge, punchy rock sound, a nasty (in the best possible way) groove and a distorted, wailing guitar section before heading back to the beat (you could, genuinely, hear Lady Gaga giving this song plenty, but then Miss Germanotta can put her voice to pretty much anything).
'Everything' is even bolder in its Euro-rock dance groove approach, presented here with a topical and on-point attack on the negative side of Social Media ("slander hurts… but since no-one was listening, it’s time to repeat it").
By more uplifting lyrical contrast, 'Tastes Like God,' which starts in contemplative mood before drifting into a simple but highly effective rhythm, describes music, and its power, as an almost religious experience. Believers, atheists and agnostics alike should be singing along to Kyle Lamley’s high-voiced, infectious "music tastes like God!" hook chorus before the song kicks into a weightier C part, setting up a harmonised "nah-na-nah nah-na nah-na" section before returning to the chorus. Great stuff.
The EP closes on the quirky charm of the title track, which builds from a simple acoustic strum and lyric contemplating a weird, dark dream ("water fills up the space in my lungs, I guess the wet die young" – there’s where you get your EP title, folks) to a slice of high-energy pop, another hooky chorus and a return of the sing-a-long "nah-na-nah’s". In short, the best song The Scissor Sisters never wrote.
The hope for THEIA is, with material such as heard on their last two EP’s, they get the recognition they deserve – indeed, ten years on from the first two EP’s, that’s probably crucial for the band as they try to make creative, nu-rock headway in a climate that favours one dimensionality for lowest common denominator gain.
Talent will out is no longer a truism, but where there’s a will there’s a Lamley or two.
Ross Muir
FabricationsHQ
Talent will out is no longer a truism, but where there’s a will there’s a Lamley or two.
Ross Muir
FabricationsHQ