God Damn immortalise their devastatingly heavy and addictive new single ‘Sing This’ with a powerful new music video, taken from their forthcoming second album, Everything Ever, released via One Little Indian Records this September 23rd. Watch here.
Juxtaposing the darkness and the light, ‘Sing This’ see’s God Damn both jovial and wonderfully macabre. “’Sing This’ features two amazing actresses who contrast throughout, one being a gory, suffering character, the other a much lighter, happy, genial character,” drummer Ash Weaver explains. “Death is present, with his lilies, blood and chains as “it pains to be alive”, but on the other hand, there’s a lot of fun coming from us, because after all, it’s an end of the world, fist in the air, we don’t care, let’s be ‘aving ya’ POP BANGER,” singer Thom Edward righteously adds. “But keep an eye out for Axe the dog, I wouldn’t mess with him…”
Set for release on September 23rd via One Little Indian Records, God Damn’s second album, titled Everything Ever, follows the release of their sprawling, sonic assault of a debut album; 2015’s Vultures. This, alongside incendiary live shows, has firmly established God Damn as one of the most thrilling bands from the UK in recent years. Having recently given us a first taste of new music with the likes of ‘Ghost’, dubbed louder than “Black Sabbath having a screaming row with Nirvana” by the NME, and ‘Fake Prisons’, described as “a stomping introduction” to the new material by DIY Magazine, their new single ‘Sing This’ recently made its debut on the airwaves of Daniel P Carter’s BBC Radio1 show as the Rockest Record and is due for release October 14th.
Produced by Ross Orton (The Fall, Drenge, Tricky, MIA) and recorded at McCall Sound Studio in Sheffield, Everything Ever sounds everything like God Damn, and yet nothing like Vultures – a debut album that came inspired by more than a handful of demons – and simultaneously rocketed the duo onto grand festival stages, and stadium gigs across the UK with the likes of the Foo Fighters.
These new songs arrive more upbeat (“these are still nasty songs though”, Thom insists), and unabashedly pop, in the same way Nirvana’s Nevermind was ‘pop’: prizing the value of a tune, and using artfully crafted verses and choruses to slip past your defences and detonate little stories when you least expect it.
The reference points come thick and fast, blasts of garage-y psychedelic pop that give Ty Segall more than a run for his money (Oh No), brawny stomps that make like QOTSA (Six Wires), even a soul-scraping blues that sounds like Tom Waits jamming with The Mars Volta (Violence). Moreover, though, they always sound like God Damn, even as every addictive nugget redefines what sounding like God Damn even means. Though vicious and metallic, these songs are still defined by that uniquely accessible quality that’ll have you skipping back to the start before a song’s even finished, just to see if they really are that audacious, if they really want to make music this catchy, and also this caustic: bubblegum cut with something nasty that will keep you chewing till your jaw turns to powder.