The Breakdown
Kid Kapichi is a band known for hard-hitting and pointed music that isn’t afraid to express a distaste for aspects of modern politics and society. Their new album, ‘Fearless Nature’, might have been expected to continue refining the forceful sound that has defined the Hastings band since their formation, but instead takes the music in a different direction, one that feels like a transition into something more nuanced.
Aggression can still be found on ‘Fearless Nature’, most evidently in its opening trio of tracks. Opener ‘Leader of the Free World’ is the most political on the album, with angry, questioning lyrics cut with undercurrents of frustration and perhaps even resignation. Ben Beetham’s guitar mirrors the lyrics, switching from a subtle, sparse melody to chunky and pugnacious as it moves into the chorus. ‘Intervention’ then kicks into life with a relentless beat and driving bass, before a heavy groove by bassist Eddie Lewis takes over and keeps the track moving swiftly along as the pressure is gradually cranked up all the way to a sudden conclusion. A pounding rhythm from drummer George McDonald propels the next track, ‘Shoe Size’, and is accompanied by an almost foghorn-like drone throughout. Jack Wilson’s snarling vocals give way to a flat monotone and highlight the hypnotic feeling at the heart of the song.
From then on, the album feels like it gradually leaves behind the heavier side of Kid Kapichi with lead single ‘Stainless Steel’ threatening to erupt, but instead staying in a groove that rises and lowers in intensity as Wilson’s lyrics question the need and even possibility of continually holding onto the ‘fearless nature’ of the album’s title. This focus on restraint is also particularly evident in ‘If You’ve Got Legs’ and ‘Head Right’. In the former, Beetham’s guitar lines constantly weave around Wilson’s emotional but measured vocal delivery, which never boils over despite the clear anger in the lyrics. The latter track takes its cue from indie dance with a build into a shouted bridge before falling back into the percussive, off-kilter, synth-led feel that dominates the track. ‘Dark Days Are Coming’ takes this rhythmic approach into darker territory, anchored by Lewis’s doom-laden bassline that ably echoes the track’s title and lyrics.
A more mournful side is evident in ‘Worst Kept Secret’, with string sounds cutting through the rest of the instruments and really pushing the emotional intensity of the vocal delivery. ‘Saviour’ achieves a similar feeling with stripped-back instrumentation letting the keening vocals do the heavy lifting, perhaps influenced by aspects of late ‘90s Blur. This influence is much more obvious in ‘Patience’, with a production (by Mike Horner alongside Beetham) that shows a clear admiration for that work without falling into parody.
Album closer ‘Rabbit Hole’ patiently builds into a late ‘00s indie-tinged bittersweet look at some of Wilson’s memories. Reverb-drenched guitar and a dynamic rhythm section amp up the end-of-summer feeling, as the lyrics take a nostalgic look at the past and its interplay with the struggles of the present.
‘Fearless Nature’ is an album of contrasts, a move between the in-your-face and the contemplative. This is a piece of work clearly shaped by Wilson’s recent experiences of relationship breakdown and mental health struggles, but always with a hint of defiance. This tension between the old and new does sometimes result in an unevenness and it will be interesting to see which direction Kid Kapichi takes next, especially with Beetham and McDonald announcing their departure from the band following the recording of this album. Taken on its own terms, ‘Fearless Nature’ shows that Kid Kapichi can effectively evolve their sound in a number of different ways, and have the skill to make it appear natural and long-established within each track. However, the breadth they cover does mean that while ‘Fearless Nature’ has plenty to offer and enjoy, it doesn’t always comfortably sit together as a whole.
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