Amid the eight years since Basement released ‘Beside Myself,’ there was an air of uncertainty about whether the band would continue. Nevertheless, the quintet, originally formed in Ipswich, persevered and reconvened to write what would become their fifth album, ‘WIRED’. This new chapter also sees them return “home” to Run For Cover Records after a major label detour. Throughout their periods of inactivity, both since ‘Beside Myself’ and in-between 2012’s ‘Colourmeinkindness’ and 2016’s ‘Promise Everything,’ Basement continued to pick up new fans. However, ‘WIRED’ is the sound of a band evolving, embracing a sonically bold approach.
Aided by producer John Congleton (St. Vincent, Mannequin Pussy), the album remains rooted in a familiar tone, yet there’s a willingness to expand. For example, the title track features jangly guitars and a rumbling bass line, which gives way to a radiant chorus. Underneath, there’s a gritty rawness with James Fisher’s drum fills collapsing among the surging guitars. Meanwhile, there’s a desperation in Andrew Fisher’s voice as he sings the hook, “Die for a little while”.
Moments such as ‘Pick Up The Pieces’ exemplify Basement‘s musical growth. Here, James’ rapid drums and Duncan Stewart’s thick bass lines dominate amongst a baggy Britpop-sized chorus with distorted vocals. It’s bubbly and delivered with plenty of urgency, only for ‘Embrace’ to bring the tone down atmospherically. Tonally reminiscent of Rival Schools’ laid-back cuts, the ballad-like number allows Andrew to deliver an aching vocal performance, matching its lyrically mournful tone. “How do we go on, after the love is gone?” he sings, complemented by stirring instrumentation. However, ‘Deadweight’ experimental twists don’t quite pay off, making it one of the more forgettable tracks.
Throughout, Andrew builds a narrative of maturity, reflection, and the need for communication. Whether that be on the glistening ‘Broken By Design’ with its words of resignation, or on the desire to be noticed on ‘The Way I Feel’ with its favourable ’90s alt-rock fuzz. Whereas ‘Satisfy’ explores self-image. Ultimately, it serves as a solid thematical spine that doesn’t overwhelm the record.
For longtime fans, a few cuts serve as reminders of Basement‘s emotional post-hardcore capabilities. ‘Time Waster’ and ‘Summer’s End’ bookend the album respectively, both providing a rhythmic drive that echoes their early albums. Whereas ‘Sever’ adds a level of intensity to Andrew’s soaring vocals, finding the right balance between the Basement of the past and present.
No matter how rawkus or timid Basement are, ‘WIRED’ constantly has a warm nuance. Whether that be on Andrew’s vocals, Alex Henery and Ronan Crix’s guitars, James’ punchy percussion, or Stewart’s bass tone, there’s something comforting about their sound. Even on intimate later cuts, ‘Head Alight’ and ‘Longshot,’ floaty instrumentation glides with satisfaction, while optimistic lyrics round out the narrative developed throughout.
After a period away, Basement should be more than satisfied with what they have produced with ‘WIRED’. The factor of tighter communication among the five-piece is evident. It’s allowed them to make a progressive and adventurous album, growing their sound palette in the process.
‘Wired’ by Basement is released on May 8th on Run For Cover Records.
Find Basement on: Facebook | X (Formerly Twitter) | Instagram | TikTok | Spotify | Apple Music | Website
