Album Review: KEG – Fun’s Over; Chaotic, unpredictable, and ultimately rewarding

It’s hard to pin KEG down. A seven-piece with the chaotic energy of a band half their size but twice as frantic, they operate somewhere between post-punk, jazz, indie, and outright absurdity. Their long-awaited debut album, Fun’s Over, only solidifies their reputation as one of the most restlessly inventive bands in the UK right now. Expanding on the jagged energy of their earlier EPs (Assembly and Girders), this record sees them refining their madness into something more expansive but no less unpredictable.

Take opener Photo Day—it encapsulates KEG’s modus operandi in one song. It begins in a woozy, jazz-inflected haze before twisting into spiky post-punk, morphing again into something approaching college rock, with trombone flourishes brushing against slashing guitars. And just when you think you’ve got a handle on it, the track shifts gears again. This sense of constant movement defines Fun’s Over, as KEG veer between moods and genres with joyful abandon.

They’re at their most potent when they lean into this experimental instinct. Strangers starts with wiry, spidery guitar work before evolving into one of the album’s highlights, skittering through jazzier territory but always maintaining a driving momentum. Plain Words builds on repetitive synth patterns before unraveling into an unsettling, math-rock-inspired climax. St. Michael is a cold, pulsating post-punk sprint, driven by razor-sharp drums and thrashing guitars, while Sale The Worm teeters on the edge of chaos before giving way to unexpected warmth. Giving Up Fishing takes a different route, starting as a restrained, trombone-led tale of suburban life before erupting into an explosive, synth-laden crescendo.

Lyrically, KEG are as clever as they are surreal. Photo Day throws out a description as precise as it is poetic—“a face like Campari, bitter and refined.” Plain Words delivers a wry, self-aware quip: “Hang on, wait, it was supposed to be funny.” And on Giving Up Fishing, the mundane is made captivating: “I turn the Skoda off and turn on David Gray, puffy through my sherry-soaked raisins, the fish-eye view of the suburbs.” Their lyrics swing between observational humor, cryptic abstraction, and oddly touching moments, all delivered with Albert Haddenham’s distinctive half-spoken, half-sung approach.

Closing track Kayaking is the perfect finale, summing up the album’s shape-shifting brilliance by blending jazz, punk, post-punk, and indie into one fluid, unpredictable journey. Fun’s Over is a record that refuses to sit still, yet it never feels disjointed—KEG’s intricate musicianship and sharp songwriting keep everything from descending into chaos. The result is an album that’s as thrilling as it is hard to categorize: an exhilarating, unpredictable, and deeply rewarding listen.