Some Villains give a glimpse of new EP with The Skin

By Sean Hannah (@Shun_Handsome)

The more alarming of the two words in Some Villains’ name isn’t its noun. It’s that determiner “Some.” It implies that there’s a formidable current of evil out there, but these four Englanders are no cause for concern. Comparatively, they’re benign, operating somewhere between the borders of villainous and just. The band’s villainy is small cog in some nefarious machine hell-bent on churning out dismay and dread; they’re only a blip on the radar, the lesser of many, many evils. They’re just some villains, nothing more.

This is the guiding principle behind Some Villains: to exist in the ether between facile classifications. Their Facebook mission statement explains that the band’s music is an attempt “to straddle the line between the experimental and the accessible.” And on the group’s latest track The Skin, the Villains strike that balance with aplomb.

Heralding the group’s forthcoming EP Outliers is this lead single, a slow burning rocker that distills the influences Some Villains have been championing all throughout their career. Musically, The Skin’s verses most immediately recall Sonic Youth, particularly their song Cross the Breeze (both numbers utilize the same two chord oscillation). Some Villains, however, are far cleaner than the New York No-Wavers, forgoing the dissonance that permeated Daydream Nation in favor of a clearer, more direct sound. The other major influence on Skin is that of Queens of the Stone Age. Featuring a hefty drum and bass foundation and singer Edward Graves’s fervent-yet-aloof vocal delivery, the band evoke the sound of QOTSA in a way that sounds neither contrived nor dispassionate.

Some Villains’ ethos charges them with the task that many bands before them have grappled with and faltered: creating wide-reaching appeal while still maintaining their artistic integrity. It’s nearly impossible to have it both ways, and SV know this. Still, their forays into experimental territory aren’t alienating and their use of familiar rock tropes never feel like a compromise. It’s a tightrope walk, to be sure, to play to the experimental crowd along with the tamer mainstream audiences. But sunny down snuff, they’re all right by the heroes and villains.


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