Characteristic of Crooked Teeth’s dancefloor intent and taste for hefty sonics, the colossal metronomic pulse of ‘Mountain Song’ anchors layers of synth that swirl with astral melody runs. It is a song, the band admit, which “really took shape live. We tried to build it into a wall of technicolour noise, a disorienting mirror to modern life, simultaneously energising and mentally overwhelming.”
Communicated via a relentlessly infectious vocal hook, the lyrics reflect the daily dichotomy of positive and negative emotions inherent in contemporary urban existence. “We kind of let ourselves live in that confusion, on the edge of collapse,” says guitarist Sam, “picking out the fragments that make sense, the moments of anger or euphoria.”
The seeds of Crooked Teeth germinated in Glasgow, where Rob and Jo met when
playing and occasionally collaborating in their respective bands. Upon moving to London, this mutual respect blossomed into a formidable songwriting partnership and, once their friend Sam had been recruited on guitar, Crooked Teeth were in business.
Three years and numerous gigs later, a distinctive Crooked Teeth sound has evolved, utilising analogue electronics, big beats and psych pop in equal measure. Propulsive synth work and distorted guitar lines imbue the music with a powerful, driving euphony, while beatific production elevates it into the finest echelons of heady 3am big beat and club-savvy noise pop.
It’s a vibe that has drawn much praise, with the band’s self-released single, ‘Mirrors’, garnering radio play from Amazing Radio and enthusiastic words across the blogosphere. Lost In The Manor records, too, were hugely impressed and signed a deal with the band to release a debut double-A – ‘Mountain Song’ and ‘The American Dream’ – in 2018, recorded, mixed and produced, DIY style, by the trio themselves. Several key live showcases will further stoke the buzz around Crooked Teeth this summer, among them a prime Saturday slot at the Great Escape Festival.