Review: The Fierce And The Dead ‘Regional Theatre’
Way back in May 2024, while attending the last of the annual Portals Festival, one of the bands I came away with a newfound love for was The Fierce And The Dead. A few weeks prior, the London collective had played at Ramsgate Music Hall – another favourite haunt of mine – but I hadn’t gone, naively thinking it wouldn’t matter as I’d be seeing them at Portals anyway. I have since lived to regret that decision, mostly because they were so good live that missing the extra show felt like a total missed opportunity.
Since then, I’ve been patiently waiting for new material, so when they announced a new album and an accompanying short tour to promote it, the news was welcomed very warmly indeed.
Regional Theatre is the band’s fifth album in a career spanning nearly two decades, showing them at their most vibrantly productive. Having evolved with each release without ever resting on their laurels, this new opus is filled with upgraded concepts, sounds, and ideas from five musical maestros who have no need to slow down just yet.
At times it’s hard and abrasive, angst-driven, and caustic, while at others it’s light, breezy, energised, and carefree. Taking cues from all manner of concepts, the influence of multiple sources for ideas and sounds is clear. There isn’t any point where it’s easy to make comparisons to other acts; The Fierce And The Dead are simply themselves, and that’s great to witness. What’s also noticeable is the evolution in the songwriting – it’s been a huge leap for the guys.
As for the album itself, Regional Theatre is ten vibrant tracks doused in elements of not only post and alt-rock, but psych and prog rock too. There are even a few pop moments and more mainstream vibes in the mix, but despite all of this, you know it’s 100% TFATD.
Opening with the menacing Loungeside, it’s clear they are out to prove something. The underplayed first minute lurches along before kicking up a notch in intensity, only to drop back again. This back-and-forth between brooding and unleashing sets the formula for the entire track, starting the album fantastically.
The 1234 drops in promptly afterwards with an upbeat alternative rock dynamic pulsing through it. It’s a real punchy piece which drives and drives before dropping back to play us out with a more sombre guitar finale.
ten vibrant tracks doused in elements of not only post and alt-rock, but psych and prog rock too…
Next up is one of my highlights, the incredible Shake Hands And Exit. This one truly is a standout for showing the group’s evolution. Each element is meticulously performed, and the feeling of unity can be experienced. It’s only one of several worthy moments across the release, but this one really gets me as a special moment.
Somehow gives a real retro ‘80s and early ‘90s feel, which, weirdly, could well be more composition than sound. It feels like it would have been right at home within the top twenty of the UK chart singles, but in a good way. It certainly shakes up the dynamic, showing a different side to them.
In parallel to the lighter sound of its predecessor, Hey Nightmare rolls in like it would have been perfectly at home on an Iron Maiden album. Those chunky basslines, chuggy guitar hooks, and punchy drums all give a nod to the UK legends, but without the cliché trademarks that have defined the old boys of metal.
Superbia then washes in swiftly and provides a complete contrast in mood. It is far lighter, somewhat jovial, and manages to make the listener feel like they are witnessing two separate bands. It is upbeat and happy, right up to its heavier last third, when the darkness feeds in briefly, but it returns to a truly enjoyable climax that leads us on to Dream Sequence.
Between this and track eight, Thrash, they display their talents in subtlety and eloquence within songwriting and creating mood. Both have elements of light and dark, dancing between them effortlessly. This is also true of Hypernormalisation, and by this point, things seem to have transformed into a lesson in using resources from different areas to maximise an experience in sound and texture, transcending any sort of genre.
Signal Bleed, the album’s final track, is a darker affair, and closes things off in a somewhat more sombre mood, feeling imposing and unsettling. It shuts the experience down, and with it, the music dies away.
The band proves beyond any doubt that what they bring to the table is an utterly unique experience, and if you are willing to give them your time, you will be richly rewarded. It’s a vibrant listen, and I think you will come away from it all feeling complete, like every sense has been pushed. It’s a triumph for The Fierce And The Dead, and I, for one, recommend it most highly indeed.
Label: Spencer Park Music
Band Links: Official | Facebook | Bandcamp | Spotify | Instagram
Scribed by: Lee Beamish
