The Theft – As She Crawls Back – Audio

The Theft is a global-dance duo from England.

The Theft

The Theft

The names Xavier Langlais and Will Alexander linger in the memory of longer term readers with association to Faux Chateau and the missing circumflex.  The quartet have now disbanded, Will and Xavier have moved on to a spanking new project of warming electro driven sounds under the name of The Theft.

With only three demos to report back on, I only hesitate to suggest to look for future movement, given previous history, but I can heartily recommend getting to know this duo now in-case they too fracture.

The influences of rootsy dance beats from around the globe resonate through the three tracks that are currently extant, each from a different Continent. I hope this iteration finds greater long-term stability, however just in-case they don’t – do ensure you add at least As She Crawls Back – to your ‘must have’ playlist.

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Faux Chateau

Faux Chateau, an alt-indie quartet, comprising Jake Constable (Vocals / Guitar), Will Alexander (Lead Guitar), Xavier Langlais (Bass) and Josh Myers (Drums / Percussion / Synth), is from London in England.

Faux Chateau - alt-indie from England

Faux Chateau

Although having been round for over a year Faux Chateau kept themselves to themselves for a while, firming up line-up and getting together a live set, which has seen them begin to develop a presence in the scene, this has culminated in a new formally recorded track, which is set to be followed by a couple of others in short order.

I was introduced to the band as they were interested giving the new piece – Betty – some space, but as always I was delighted to have found some rough demos and as regular readers know – I always enjoy demo material to consider and on which to draw some more considered thoughts about the overall sense of the direction of Faux Chateau. The strengths in the band lay in their ability to write believable music, which has a natural flow, yet simultaneously offer the listener something new.

The quartet deliver sounds in which all the elements fuse together in sympathy, a case of one plus one equalling far more than two. An unfussy and superbly faceted bass steers the dreamy tracks along a defined path, as the guitar weaves its way around the ears like a joyful puppy and the percussion herds in the wagging tail added to which the synth gives the material a variance of texture and depth, without taking over the moments. Completing the sound is a vocal which complements the instrumentation resulting in an out-put of considerable interest.

It will be interesting to see if they add a fifth member, or one person takes a specific role with the flowing temperament to allow the synths a full-part of the live line-up and song writing process.

Given my dislike of ‘fake’ in any context, I even find myself drawn to the band name, particularly given the missing circumflex – Faux Chateau – somehow and despite myself, gave me a warmth on receipt of the email without even having listened to any music.

Faux Chateau is able to take influences across continental borders and through generational reference and work them, not into a vague collection of things disparate, rather a meaningful whole and I wish them the best in the chaos of the music business, where if justice were to prevail Faux Chateau would already be far better known.

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