Bad Sounds // EdinburghGig
16 November 19:00 - 22:00
"If you liked Beck when he was trying to be Prince rather than when he was trying to be Nick Drake and if you like 70s dance music with an 80s production gloss and a 90s baggy undercarriage that invites 60s-style exclamations of appreciation, then you’ll love Bad Sounds. Radio 1’s Annie Mac does – she made one of the band’s singles, Wages, hottest record in the world, and another, Avalanche, tune of the week.
Why Bad Sounds? It’s a bad-meaning-good thing apparently: the band love early hip-hop, especially the good-times “DAISY Age” upful vibes of A Tribe Called Quest and De La Soul – “We’re predominantly, aesthetically, a hip-hop band,” declares singer-keyboardist Merrett – as well as the stoned funkadelia of Sly and the Family Stone, and everything by Michael Jackson, particularly Off the Wall era.
In fact, for a remix of Avalanche, Merrett did an impression of Jackson’s iconic intro to Don’t Stop Till You Get Enough, the one where he mumbles pseudo-prophetically about “power” and “the force” like a disco Yoda. The Beck influence comes from Merrett’s dad (“He used to play Odelay all the time”) although they disavow baggy. “People keep saying we remind them of that stuff,” Merrett says of Madchester period lazy-limbed dance music. The band are managed by the team behind Placebo and Wild Beasts, although they’re unsigned and are fielding offers.
They played Bestival and Glastonbury Festival (official) last year and – talking of Wages – have had nearly half a million Spotify streams for their various tracks. “A million is six grand,” says Merrett, doing a quick mental calculation. “So that means roughly 600 quid each. We’re pretty chuffed.” It might even mean they can give up their day jobs: his brother Callum (vocals) works in a suit shop, drummer Dimery in a venue, bassist Pitt in a cafe and guitarist Hint in the local Apple store. As for Merrett, he’s studying creative music technology at Bath Spa, which means lots of music and “weird sound design”.
Bad Sounds are less Pierre Schaeffer than Paris Angels. They recently supported RAT BOY on tour. “That was a shock to the system, hearing screaming 14-year-olds,” he says. Although, tending towards self-deprecation as he does, he puts their enthusiastic reaction down to “kids being at their first show and thinking you’re famous cos you’re in the same room as the lead act”. - The Guardian