Fun's Over- KEG

Luke Bower reviews the latest offering from exhilarating London collective KEG...

Known for their nimble, writhing instrumentals and snarking poetry, seven piece wonk-punk outfit KEG’s debut full length record Fun’s Over seeks to stretch and contort their established chaotic capabilities as a band. The Alcopop signees’ output up to this point has been characterised by their brand of punk that consistently teeters on the verge of calamity, held together by a Pritt Stick of sharp witted vocals and punchy, breakneck paced instrumentation. The duo of EP’s Girders and Assembly have seen KEG gain notoriety through notable angular-punk hits, and harnessing the Brighton-London based outfit with a live show that can only be described as absurd, controlled chaos.

I had the privilege of witnessing the septet jostle for comfort on the tiny Bodega stage at Dot 2 Dot a few years back, where wry lyrics of Michael McIntyre’s Roadshow and jabs at entitled, Itsu obsessed kids nearly became overshadowed by vocalist Albert Haddenham’s sudden nosebleed on stage.

KEG have comfortably remained a cog in the well oiled machine of UK post punk, yet their releases and overall demeanour always felt as though they wanted to strive for something more ambitious creatively. Opener Photo Day on their debut album demonstrates this yearning right from the jump, indoctrinating its listener in their newfound intent as a band. Charlie Keen’s solitary horn section bathes the opening track in a vivid melancholia; an unfamiliar sonic palette for the band when paired with ominous synth passages and sorrowful guitar chords. The track soon devolves into a rousing erraticism, while still retaining a sense of subdued serenity. It’s a five minute, atmosphere soaked cut that lays the ground work for KEG’s multi-phased song structures that dominate the rest of the record, that all boldly attempt to balance abrupt shifts in tone to mixed results.

It’s on these rare passages of composure from the band where the album really takes its stride, largely in part spearheaded by the aforementioned Charlie Keen. His trombone playing always seems to take centre stage across the record’s runtime, almost acting as a second vocalist in parts, and adding a much needed repose to KEG’s otherwise unwavering relentlessness. Skybather is a notable highlight in this respect, who’s plodding rhythm section and glossy presentation result in one of the most absurdly cathartic listens on the record. Similarly, Plain Words delivers a welcome sincerity amidst sudden flurries of instrumentation. 

KEG’s expansion isn’t all unfamiliar territory however, with their humorous lyrics and recognisable silliness frequently rearing its head. Fun’s Over is inter-cut with interlude skits that annoyingly stunt momentum for the most part, again demonstrating the record’s overall lack of ability to balance tone effectively. That’s not to say that KEG’s off-kilter humour doesn’t land in totality, with Paul Mescal name drops and lyrics of admiring Marilyn Monroe in the Boden catalogue adding a certain charm to the record that is undoubtedly integral to the band’s character. 

Sate the Worm is the culprit of the Paul Mescal taunting, and is KEG at their most vigorous and upfront. Haddenham’s yawps lead the charge to a thumping lead single for the record, packed full with abrasive guitar shrieks and jittering synths to land as an album highlight. Further chaos ensues on Ferryman, that harkens back to early releases with its cacophonous arrangements and drumming that borders on the style of something you’d hear on a metal album. Thankfully, once the dust has settled on a dizzying and at times cumbersome listen, and Fun’s Over reaches its final moments, KEG favours to conclude the record with the blissful back half of Kayaking, that book ends the album beautifully. The band’s crescendos give way to an ambient soundscape akin to the album’s opener, with Keen’s trombone blissfully serenading the listener once more. 

Whilst an undoubtedly entertaining listen, that throws plenty of ideas at the wall that stick, Fun’s Over demonstrates the double-edged sword of KEG’s songwriting abilities. Their progressive instrumental dynamics present a truly exciting step forward for the band, but it’s a step forward that is at times counteracted and weighed down by derivative post-punk genre tendencies. It’s a record that, when put up against other contemporaries that fully commit to experimentation, unfortunately doesn’t leave a whole lot to come back to aside from the band’s familiar frenzied live show, comedic lyricism and ample charisma.

Luke Bower

---

Edited by Alice Beard

Official Fun's Over LP cover courtesy of KEG, image courtesy of KEG on Facebook, video courtesy of KEG on youtube