Los Campesinos! are back – with their first album since 2013’s ‘No Blues’ and two London shows in the space of six months.
The release of ‘Sick Scenes’ on 24 February 2017 will be accompanied by an already sold-out show at Moth Club on 5 December 2016 and a performance at KOKO on 1 May 2017.
“The album exists as a release of pent-up aggression, a document of both personal and societal malaise. But it’s also a celebration of just getting to be a band again, of getting to play music with our friends,” say the Welsh band of their sixth album, recorded over the summer in Fridao, Portugal.
“Thematically the record is concerned with fumbling for personal relevance while trying to be a better person. Repressing anxiety and attempting to function while constantly maintaining the perfect two-beer buzz. It is set upon a backdrop of non-league football, prescribed medication, and crumbling hometowns. These truly are the Sickest Scenes.”
The four year gap between albums – the longest in the group’s history – enabled the members to rediscover their passion for music.
Explains lead guitarist Tom Bromley: “I deliberately tried to resist putting ideas together for as long as possible so I could feel excited about writing again. I was touring with Perfume Genius in 2015 and I think a combination of long van rides listening to music with too much time to think, as well as getting to play guitar on their beautiful and weird, affecting songs every night got me all excited about working on ideas again.
“So halfway through the tour we had a fortnight off in Seattle where I put together all the ideas I’d been collecting and started the process of a new album.”
The new album is preceded by the song ‘I Broke Up In Amarante’ which, according to Bromley, had been gestating for several years.
“In March 2016 I went to Melbourne to produce a record for a band called Ceres,” he recalls. “We went super deep on the details and textures for their album, but it was the songs themselves that left me with a hunger to do something with a similar energy.
“I’d had the chorus sitting around for years, but it was only when I had the idea to use it as a major-key payoff to a minor verse that it made sense, and played over a loop of a distorted bowed saw, it all came together really quickly”.