Mark Fernyhough and Steven Horry just released a new tune, it’s called “Nouveau” and it comes with a video, which you can watch below.
The duo, based in London and Berlin, deliver a track that spans distance and measures its cultural influences well. Stylized vocals dissolve into reverb, guitar hooks stab and dress the structure. The result is architectural, but Horry’s fret-work has a spiralling effect of an Escherian Stairwell, so familiarity with this kind of sound is also slightly (pleasingly) perverted.
Despite a wanton display of strength there’s a subtlety to the track. There’s a deadpan humor in the darkness, and there’s an obvious affection for process. Production values are European; ornate, yet clean and uncluttered. So strong is the surreal filter, the initial appraisal of this being a simple ‘indie-guitar’ track is soon shrugged off, and something deeper is delivered.
Fernyhough delivers lyrics with a confidence that could fill stadiums, but he offers descriptions, not the disclosure of full details. “Brothers, sisters of the world, they’re coming for you… boys and girls….” The impending force is met with glitter, and we feel that we can shelter in the depths of Fernyhough’s vocal register. Like a preacher, he issues warning and offers salvation. It’s great fun.
There’s something delightfully trashy-camp about the tune, and the video which places Fernyhough and Horry against urban architecture adds complexity to process. An entourage of roller-skating ladies glide through the frame, surrounding Fernyhough as he sings. One of the ladies has a badge sewn on her jacket. Just above her fishnet stockings and short-shorts it says, “Dead Men Can’t Catcall” And there’s a picture of a switchblade, dripping blood. Contradiction and paradox toy with us. Whose impulse should we trust?
Like the track, the video rewards repeat plays – it reveals something more of it’s depths with each viewing. It also looks wicked fun. Now, where do we get a jacket that looks that sharp?
HURRY – LISTEN – MARK FERNYHOUGH
PHOTOGRAPHY – SUSAN SLOAN