Returning to the south coast for the third time this year, FEWS’ pulsating brand of melodic post-punk transformed the Prince Albert into a cauldron of drenched bodies, fixated upon four highly strung performers who were perfectly encapsulating why they’re one of the most talked about bands in the country right now.

Consisting of three nationalities, originating from San Francisco via Berlin and now based in Sweden, the group’s cultural make up is reflected in its musical output; with their compositions borrowing from a variety of genres, resulting in a multitude of epic soundscapes that transfer flawlessly into a live environment.

If it was the LP that put the group on the map, then it’s the hypnotic live shows that have maintained its place there and accelerated the trajectory to a point where this venue was close to being upgraded. Whilst on stage, they paradoxically give you the impression that they’re on the precipice of falling apart, yet strangely have it all under control in the process. This results in a potent spectacle of audible chaos.

With the lyrics of Paul Banks etched into the arm of frontman Freda Rundqvist, the band’s set opener ‘I.D.’ recalls the best elements from Turn on the Bright Lights-era Interpol as the two guitar riffs glide along at a leisurely pace before a rhythmic crescendo enters and contends for the audience’s attention.

‘Does anyone have any water’ exclaimed guitarist David Alexander, as the venue’s temperature began to match the climatic conditions outside. Boiling point was subsequently reached as the band dived straight into recent single ‘1000 Goosebumps’, with the guitar pair tussling for superiority at breakneck speed on a wave of fast-paced rhythmic work.

Although the bulk of the set came from the album, they did manage to fit in one new track in the form of ‘La Guardia’. A three-minute long adrenaline rush that holds your attention at an unsettling pace, it would fit seamlessly on QOTSA magnum opus ‘Songs for the Deaf’ and exhibits the krautrock tendencies witnessed in TOY; a band that has also working closely with the FEWS’ producer and part creator Dan Carey.

With the blood flowing, the band then tore through first single ‘The Zoo’. "Time is on my side!" declared Rundqvist, only you wouldn’t think that, as each song came and went at an abrupt speed, leaving you with the sense that it was over before it truly began. With the rhythm section fundamentally motoric, this gives the two guitarists/songwriters a potential licence to roam and flesh out the compositions, a feature they rarely do. However, this evolution may well be an avenue to be explored in future albums, with the angular guitars and reverberating basslines doing more than enough to keep the crowd occupied at this stage in the group’s development.

One aspect of the band that cannot be discounted is their sense of melody, with each track managing to fit a pop sensibility into the pulsating drums and shuddering bass framework. As they performed ‘Drinking Games’ and ‘10 Things’ you realise FEWS are DIIV’s edgy younger brother, who discovered The Cure rather than Sonic Youth in his formative years.

With the remnants of the early millennium’s post-punk scene now lacking in relevance, FEWS are the focal point of a new breed of bands embodying the positive elements of that period but still possessing enough original rudiments to constitute widespread acclaim. There is also plenty of room to craft more of an identity, with epic set close ‘Ill’ capturing this future potential.

As drummer Rasmus Andersson maintained a driven psych rock throughout, this gave the other three members a creative authorisation to inflict a mesmerising thunderous sea of sonic waves for the final ten minutes to close what was an intense and enigmatic gig.
Paul Hill