UK outfit Basement have been around for some time and have amassed a fair bit of fanbase. The band also keeps taking breaks between releases, not knowing whether they have another record in them. The group’s fifth release Wired comes after an over eight-year hiatus, during which this five-piece considered whether they should call it quits. Therefore, it suffices to say that these guys are approaching this album almost as a brand-new group with a fresh perspective.
Wired does sound like an album from a band with fresh energy. Its no-frills guitar rock music is fiery. The album has the genetic makeup of Nineties alternative rock, especially that of the dorky innocence with which underground college acts making off-center guitar-based music started to embrace a more accessible music style, as they emerged from the shadows.
On tracks like “Time Waster” and “Pick Up The Pieces,” frontman Andrew Fisher’s blustery singing style balances emo and pop approaches in an affably charged up manner. The production is carefully grimy, adding more intensity to the music without making it sound tacky, like on “Sever,” which borders on hardcore, where the bass sounds mucky and so do Fisher’s vocals, adding to the grittiness of the song.
Wired covers a good gamut of styles. “Summer’s End” is a bright catchy alternative rock number typical of the Nineties; think bands like Better Than Ezra. “Satisfy” ventures into shoegaze territory with thick fuzzy guitars. “Head Alight” is psychedelic with reflective guitars and general placidness compared to the rest of the record. “Deadweight” goes the grindcore way, with a dragging tempo and sludgy guitars.
For someone newly discovering Basement, Wired might not seem dazzlingly novel. But it is a strong effort, if you’re looking for good truly guitar-based indie rock music. And for the folks already familiar with this outfit, Basement’s energy and enthusiasm, that of a hungry new band, is something worth celebrating.