Forty Foot
The best music evokes an emotional response from the listener, pulling on some deep seeded emotional cord and instantly provoking a subconscious connection to the special alchemy in the chords and melody, taking you back to that place and time locked in a memory. This is exactly the case with the massive new single from Forty Foot, ‘Miles Away’. An emotional alt rock anthem woven across three and a half minutes.
The song begins with Sam Coffey’s vocals and guitar that drip in yearning, like they were written on a back porch far past midnight as a desperate a cry into the infinite dark. Lyrically they speak of a want to return to the known comforts of home, regardless of the reasons that carried you the distance to somewhere far. A love letter to past mistakes and the attempt to lose yourself in fleeing from them, only to feel the pull to return.
‘Miles Away’ finds Forty Foot exploring a wider sonic template than on previously releases, slowing the tempo and allowing layers of guitars, effect pedals and synths to create a dreamy base for Sam’s emotionally heavy vocals. The longing of the song is punctuated in the production of the track, with a conscious decision to create space between the vocals and music, giving air and breath to the track. Mark Dillion’s guitar tones are awash in reverb and chorus adding to the hazy, dream like quality of the track, while Anthony Ross’s drums and Keith Ennis’s bass add the pulse and drive to the track keeping it grounded amongst the spacey-shoegaze elements of the track.
The band choose to record the track live in Dublin’s famed Camden Studios with Conor Brady at the helm. Echoing the feeling of connection and reconnection from the track, it was paramount to the feel of the track that the band we’re in the same room together; locked in, sweating it out and capturing the energy in the room. Maintaining the intimate nature of the lyrics and vocals, Sam recorded his vocal tracks at his home, allowing him to dig deep and deliver a performance that is honest and raw. The band turned to long time collaborator Conor McLoughlin (Sick Love) to mix the track.
The artwork was created by the bands own Anthony Ross, drawing on his day job talents as a tattoo artist to give a visual representation of the lyrics, here in body but not in mind. The video, directed by Tom McMahon features various images of the band’s hometown of Dublin. Helping cement the over arching theme of longing for home.
Forty Foot’s sound is rooted in 90’s alternative rock but with a contemporary approach to their melody, sound and production. This means ‘Miles Away’ feels instantly familiar yet fresh, immediate and vital. It’s the sound of a band delving into their auricular palette and showing us why they’re one of the most exciting bands coming out of the country at the minute.
The Clash - (White Man) In Hammersmith Palais
My biggest musical inspiration is Joe Strummer. I grew up in a house that played a lot of 70s and 80s punk, reggae, ska, so The Clash were on quite a bit. It probably wasn’t until I started listening to The Mescaleros that I started to read up on Joe’s life and philosophies. Joe’s attitude to music is an immersive one, to fully understand the music you gotta go see it being performed live, which he sings about his own realisation of this on The Clash’s 7-inch “(White Man) In Hammersmith Palais”
Idles - Grounds
When I listen to Idles, I’m reminded of just how impactful music is on us. It can stir up so many emotions and change how we perceive different situations. Grounds for me is a powerful song that punches you in the gut. It’s a proactive song about unity that encourages me to make a change. To be able to invoke that level of response from someone is inspiring.
Jimmy Cliff - The Harder They Come
The Harder They Come is one of those songs I’ll be putting on my funeral playlist. It’s about living life to the fullest and doing all you can that brings you joy. We all know how fleeting life can be and songs that remind us of this in a positive way, to inspire going after what you want, is much better than being reminded the hard way.
Tokyo Police Club - Frankenstein
I'm still amazed Tokyo Police Club never made it “big”, they always seemed to be on the outside of that 2000s indie scene but they constantly produced great songs and some of their favourite guitar tones. On Frankenstein, from Champ (2010) Josh Hook uses two delay pedals in series to create this insane guitar riff. it's technically clever and has a great melody, it almost sounds like an arpeggiated synth but more interesting. It certainly influenced our track “Drugs”
The Strokes - Hard to Explain
Is This It had a massive influence on modern rock music and particularly my guitar playing. Hard to Explain is the stand out song on that album for me, the crushed drum beat, the guitar melodies and the distorted vocals. It's an indie tune with some punk attitude. I first heard it when I was 12 years old and I still love it. My mate's older brother gave me the album but he took the album cover out!!!
Nirvana - Serve the Servants
“Teenage angst has paid off well, now I'm bored and old”...... the iconic opening lines of the album that had to follow “Nevermind” . The opening riff is like something from the early Beatles but with too much distortion and a kinda dissonant melody but it quickly makes sense. I heard Steve Albini say recently that the take that made it onto “In Utero” was the first take on the first day of recording.
Steve Earle - Copperhead Road
My Dad is a big Steve Earle fan. It’s definitely one of the earliest musical influences I can remember. I don't think I got it at the time to be honest, it was just background sound along with all of those big names he was into (Joe Cocker, Eric Clapton, Van Morrison). I don’t think he meant it on purpose but I almost got a music education while eating breakfast. As I got older I found myself returning to those familiar voices and tunes. Copperhead Road is just a song I’d always think of as my first intro to loving music. I keep the heavy stuff for our rehearsal room but I find myself playing it on the acoustic a lot.
Deftones - Be quiet and Drive (Far Away)
I started making music as a drummer, wrecking pots and pans and couch pillows as a kid. When I finally got my first kit I learnt by listening. I’d play songs on a loop and just play over them again and again. I think this helped me understand song structure and the power of space. I can’t remember when or how I came across Deftones but once I did I was a die-hard fan. For me, Deftones are the sound of those years when I was finding my voice and growing into who I was going to become. It was actually pretty tough to pick amongst their back catalogue but “Be Quiet and Drive(Far Away)” was what got me hooked and I must have broken more drum skins and sticks then I’d like to admit playing along to it. It was a huge part of my journey to music.
The National - Bloodbuzz Ohio
This is an odd one for me as I don’t really listen to The National much anymore. I actually have the lyrics of the chorus to “Bloodbuzz Ohio” tattooed around my knee. Matt Berninger is such an amazing lyricist, when you pair that with the music The National makes, each song is almost like a painting that brings you somewhere. I’ve tried to bring that into our song writing, telling a story or invoking an emotion where I can. I think The National also instilled in me that music doesn't always have to be a young man's game. I’ve also had the pleasure of seeing them early on in small venues. Some of the best gigs I’ve ever been to.
Ramones - I Wanna Be Sedated
Ramones were what got me into punk music. Growing up listening to punk and how it’s changed over the decades really inspired me to want to play music so I took up drums. I Wanna Be Sedated for me is one of those really fun punk anthems you hear that makes you wanna move, and not be sedated.
