Review: Fools and Worthless Liars – Deaf Havana

By Daniel Cheater

I will be honest; I have not bought an album on CD for about three years. In my teens I was completely obsessed by music, I would buy albums as fast as I could earn the money to pay for them. But then in my twenties, boom, it stopped. I got older, music (in my humble opinion) meant less and entire generation of freeloaders (myself included) started to download it all for free. This is a massively longwinded way of saying that I rate this band so highly that I actually felt compelled to spend money on them.

Deaf Havana-Islington Bar Academy-9th Nov 08
Photo courtesy of Lauren Selby

I think in this day and age, you have to spend money on the things you want them to make more of, and I REALLY want them to make more of this.

Deaf Havana are a four piece from Kings Lynn, Norfolk, formed in 2005 they went on to release debut EP It’s Called the Easy Life in 2007 before releasing debut album Meet Me Halfway, At Least in 2009. Line up changed ensued as main screamer Ryan Mellor left the band leaving singer/guitarist James Veck-Gilodi as full time front man for the band.

The change in line up transferred into a change in sound. And the sound is epic. Opener The Past Six Years is a gentle, but rhythmic ode to bands past and the frustrations of a band that has failed to progress in the last few years.

“Mikes on daytime radio, and John played Reading and Leeds and I’m still playing The Purple Turtle on New Years Eve…”

Youth In Retrospect then kicks off the heavy, layered sound that is now their trade mark. Lyrically, the main theme of the album is about pining for past, less complicated days, and an unnatural fear of ageing.

In Anemophobia Veck-Gilodi tells us: “I’m holding out for a saving grace, to show me the error of my ways, I really need a change, I’m not a pessimist but sometimes hope is missed or missing”. The album is bleak, you can really hear that Veck-Gilodi wants to change the way he is and this album is his way of doing it.

Hunstanton Pier is a real highlight, while album closer Fifty Four is a calmer, measured finish and the only song on the album that could be described as being about a girl. Fools and Worthless Liars is a terrific addition to a music ‘scene’ desperate for some fresh ideas and originality and is the first of many CDs I hope to buy from this point on.


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