Kidderminster electro-rock six-piece, White Noise Cinema, bring a trippily hyperrealist twist to their sound with the release of their new single, Unpersons. It comes subsequent to their tour of the UK last year, and their brief Christmas break, after which they’re back and ready to rock n roll more than ever. They’ve started 2020 as they mean to go on. Their sound is an eclectic concoction of modern rock, with a dash of progressive metal and a foundation of electronica.
After refining the mix of their electro-based tunes during their gigs around the UK, assumedly through their audience responses, the Kidderminster based sextet make their mark on 2020 already, with the release of ‘Unpersons’, merely a week into the new year. It’s clear that this year is going to be one of blossoming and blooming for these lads. A compelling and relatable story which centres around the struggles of fitting into the neat nooks of expectations – some of which, is absolute bullshit – which our society has created and nurtured over the years.
The music video perfectly illustrates this; recorded in one continuous take in the group’s hometown of Kidderminster, there’s a notable part which features the protagonist young woman of the video, strolling with her arms full of ring binder folders – and struggling – as increasingly more are flung into her arms. She grapples to sustain herself, just like we wrestle with the all-consuming and often impossible necessity that is, to compactly fit into these expectations, like the glass shoe on to Cinderella. Deep.
“‘Unpersons’ is a song that started as a simple bass riff. It kind of built organically over the course of a year,” Benjamin Hiorns, vocalist and guitarist, has recently told Comeherefloyd. “A lot of sending ideas back and forth, a lot of trial and error blending electronic, acoustic and rock elements.” This is starkly apparent in the track; and despite the fact that this is only their second single, they’ve certainly struck a damn good balance of each element. The meticulous nature that has been fostered in striking an equilibrium of elements in each genre, is evident and inspiring.
Intrepid and authentic, the track is seemingly a modern take on the uninspired, defeated aspects of society. The parts in which people have isolated themselves, because what’s the point in coming together nowadays, in this digital age, when we ironically seek and establish connections within technology, and within ourselves? “It’s about the idea that the world is moving into a direction where we’re retreating into our own separate corners. Nationalism is beating out globalism and I think that’s a terrifying prospect,” Hiorns confides to Comeherefloyd.
Frankly, the sense of togetherness in modern Britain is bleak, with an undoubted tinge of hopelessness. We’re regressing into our own, carefully curated neck of the woods, and remaining there. It’s almost becoming a sense of social alienation, even – and the track encapsulates this issue in a way which is both jarring and charming. It provides explicit exposure to the things that have facilitated our doomed divide, yet still retains a quaint extent of light-heartedness, which should be commended.