Forever Underdogs – 22nd September 2023
Christopher Nosnibor
I Got quite excited by Hull’s Bedsit on hearing their last release. Perhaps the summary in their bio explains it, more or less, in pitching the band as being of interest to fans of Basement, Nothing, Yuck, Nirvana, Smashing Pumpkins, and in next to no time, alongside my raving about them, they’ve come from nowhere (ok, Hull isn’t quite nowhere, but it works as a narrative) to airplay from Steve Lamaq and applause from Louder than War.
The joy of F.I.D.O. lies not only in its being a great tune, but from its gloriously lo-fi, crunchy sound. A twisty riff played almost tentatively by way of an intro is suddenly smacked along in a tidal wave of rhythm, bass, drums and it recreates the buzzing vibe of Dinosaur Jr on ‘Freak Scene’ or ‘Girl from Mars’ by Ash. It buzzes, it vibrates.
They’re pretty strident in their messaging here, and this is certainly no feel-good tune, as much as it’s a nihilistic howl that goes against the grain, and is certainly not a call of solidarity with their peers and contemporaries, It’s a shake, a slap, a sneer of derision that says ‘get a fucking grip!’
“F.I.D.O. is for the countless artists who labour to perfect their work, manifest their passions and achieve success, only to be left screaming into the void for years on end. It’s about the ridiculousness of dreams and the temptation of surrender. We’re made fools by our expectations of the music industry and the life of an artist, coaxed by visions of giants from a bygone era. The iconic rockstar is dead, or worse yet, duplicated posthumously in a vapid monetary mockery. It seems impossible nowadays for an independent artist to ever get heard, break out, be seen. When art is entwined with identity, emptiness can feel like death.
Why do we even try? Where does that spark come from, and is it at all worth trying to keep it alive? If an artist is neither seen nor heard, do they even make a sound?”
It’s a sentiment that not only do they fully espouse in their work, but one I can back to the absolute max. It’s not about the technicality, but the raw energy, and it’s right up and in your face, and then when the vocals come in against that welter of guitars, it’s absolutely fucking glorious. There are numerous references I just can’t call to mind, but there’s a dash of Therapy? and a pinch of Bilge Pump in there, and the refreshing thing about Bedsit is that while so many contemporary acts who bring that 90s vibe present sanitised, cleaned-up interpretations, Bedsit keep it raw, rough and ready – and in doing so properly capture the spirit of the era they’re so deeply rooted in.
F.I.D.O. is a massive, grungy monster. Driven by thick riffs and thumping percussion, the melodic and contrasting vocals land between Nirvana and MSP with aa hint of Fugazi as they melt grunge in a pot with post-punk and post-rock that maybe hits a spot in the region of Trail of Dead. But none of this really touches the rush and the squall.
The bottom line is that they’re bursting with energy, and they’re a band you can believe in. ‘F.I.D.O.’ kicks all ways, and the amount of ass-kicking they packing they pack into four minutes and twenty seconds is incredible.
The single comes backed with ‘Click Track’, a frenzied thrashing furry that’s pure and brimming with passion.
Feel the force.
AA
