Leah Hamer

After appearing on the scene just a few short months ago, at a debut gig at The Underground, local grunge kids, Filth, have been getting around the joint like a dirty, little rumour. So it was only a matter of time before the boys got themselves down to Riff Factory to entrap their sound on a few recorded files. 

To debut themselves to the world, they have created a four-track EP, Play That Filthy Music. And my god is it filthy. 

The self-titled opener kills you with a spacy beginning before plunging into a grizzly little riff, with distorted effects and punchy, accented vocals from singer Joe. Simplistic lyrics like Keep it filthy/Keep it wrong, suit their image and the blunt, brutal nature of the track. With its marvel of a riff, it gives you hope for what is to come. 

Fade Out follows. A psychedelic, trancing synth trickles into your mind before the deep guitar of Lewis Fernough infiltrates this sound and turns the track into this raging Black Rebel Motorcycle Club meets Slaves number. Now I wanna scream/I wanna shout/But I won’t fade out- repetitive and basic lyrics are used again but are effective when tied in with the engrossing mixture of guitar and synth melodies. Lewis shows his pizzazz again during a later high-pitched screeching solo. 

Third track, SDA (standing for Sex, Drugs and Alcohol), is another rough and raunchy piece of experimental, grunge rock. Aggressive and weighty, it has a steady, nodding beat and harsh vocals. It doesn’t hold the same level of excitement as Filth or Fade Out, yet it is a good filler to hold the EP together. 

A provocative riff opens up their closing track, Bitch, a brave and punky display of their worth. Demanding drum beats, a nifty bass line, alongside its smart hook and yet another bludgeoning guitar melody, Bitch is an ideal summary of the EP and the sound of Filth. 
With Play That Filthy Music, Filth have definitely found their forte.  

You can listen to Play That Filthy Music by Filth here: