Precisely one year ago the insidiously enticing London-based Psychedelic Post Punk outfit, Butterflies on Pins were gearing up to debut their quite impressive debut single/video “Dedicated Consumer.” (featured here)
The band, comprised of vocalist Ross Liddle, bassist Katie Green, guitarist Rob Alexander and new drummer Mariel Camara, is finally back with their ‘kitchen sink dream pop anthem of doom’ “Still Life’s Worth Living”.
Filmed in their hometown, the visuals bring out rich character and genuine authenticity further enhancing the sinister and menace held within. As each song is conceived as much visual as it is aural and intended as scenes within a film, inspired by cult 60s British movies like “Billy Liar” and “Get Carter” in this case, in addition to a close attention to details and somewhat theatrical stage presence, you can bet you are in for a visually striking experience.
Mid-tempo drum beats vigorously fall and thump as dire downfallen guitar melodies cry crystalline slivers relentlessly soaring into shrieking needlings engulfed in the sonic outflow of deep throbbing basslines buzzing behind the prominently harrowed, anxious, and worried vocals carried by fear, sorrow, and love into the cold harsh nightmarish anonymity. Intensely extreme and vigorously active instrumentation yield powerful sound is heightened by the bold and daring vocals to create an emotional sense of arcane mourning.
Moving to the bright lights of the big city are a right of passage for some who dare to dream big, and for some, it is a dose of reality that sends them packing. Lyrics speak of a road less travelled riddled in pain, disappointment, and shame. The one that swallows up the girl and the dream then spits her out in the small town she was trying to scrub out of her skin. ” It argues that you can never truly leave a place behind as once you have inhabited it for an extended period of time, it becomes as much a part of you as your internal organs…Ross Liddle.”
A stylishly dramatic video, directed by John Clay, shot on location in the streets of Hackney, depicts an emotionlessly haunted woman aimlessly walking the sprawling metropolis against the backdrop of London’s fashion clad streets alive with a double-decker bus and stylish boutiques. Spectres wearing white harrowing masks appear around every corner representing the ghosts of her past. Terrified she runs into a bar where the band performs in melancholic vigour against heavy blood red drapes and dull neon lights while faceless apparitions dance with death and the woman puts on her mask and join them.
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