How Much is Too Much: Fat White Family’s ‘Champagne Holocaust’ Review

How Much is Too Much: Fat White Family’s ‘Champagne Holocaust’ Review

Adriana SaboThursday,21 August 2014

The Snap: 

Shocking, provocative, attention-seeking, stunts-loving misfits.  This is how one might describe the Fat White Family — a six-piece band comprised out of Northern Irish brothers, Lias and Nathan Saoudi, the guitarist Saul Adamczewski and boys from the Metros — as well as the things they do. One might also add that they are creeps or even freaks, products of this crazy, sick society of ours, who are bent on exposing the ugly side of that very society. And finally, one might even claim that they simply discovered the secret of success, realizing that one possible way to popularity is writing outrageous lyrics and making an idiot out of yourself – especially if you live in London, the hometown of the once-rebellious punks. In other words, if you combine all this into one band, you will get Fat White Family and their debut, titled Champagne Holocaust. They might be called the new kids on the block — at least when it comes to the world of recorded music — so it is logical that they intend to mark the territory with their first album. And they marked it good.

The Download:

The album we have before us is quite obviously a debut, an album that bears witness to the soul searching the band is doing. Even though each song is a bit different, proving a certain identity crisis, they all have the typical, indie pop atmosphere, that seems to be the result of the band’s intention to achieve popularity. “Auto Neutron” is the opening track, a blurry, slow song whose use of synths and guitars is reminiscent of the sound of the much older progressive rock. The voices are harsh, lyrics hard to understand, but the track has a general feel of uneasiness and darkness. “Is It Raining In Your Mouth,” on the other hand, is a true indie pop hit-wannabe, a song that proves that these guys are twisted, creepy teenagers inside. Now, “Who Shot Lee Oswald?” is a funny one. It is obviously influenced by the distinctive humor of Andy Warhol and the Velvet Underground and the childish quasi-idiocy of “The Yellow Submarine,” with just a hint of country. The wish to turn to some of the hotter issues of today shines through in the sixth song, titled “Cream of the Young,” a track that touches on pedophilia — a topic that keeps springing up in many of the latest celebrity-related scandals in the UK. As the album progresses, the moods change, as well as their outlook on the world. My personal favorite is “Bomb Disneyland,” that definitely takes the cake when it comes to weirdness.

Champagne Holocaust is an album that certainly shows where The Fat Whites are coming from and what they intend to do, but it also speaks about the fact that they still need to find themselves and discover the best way to say what they have to say. Most of their influences — such as old-school rock, psychedelic rock and punk — can be heard in various songs of the album and in this sea of familiar sounds we can also hear what these lads have to say. Their music also shows that r’n’r that we used to know is dead and buried and in no way commercially usable, since Champagne Holocaust is a peculiar mash of the music from the 60’s and the 70’s and indie pop sounds that apparently became THE way to success. But hopefully, punk will prevail in The Fat Whites and their second album will offer a truly harsh, gut-punching social critique that still remains hidden.


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