A cursory listen to The Gotobeds’ first Sub Pop album would suggest that the band spent hours trawling through Pitchfork’s Best New Music,
The Gotobeds Blood trying to find what spiky indie rock is currently popular with Internet tastemakers.
That’s not to say these acts were a direct influence on ‘Blood Sugar Secs Traffic’ – an early music video saw the band nonchalantly smashing a Parquet Courts LP
The Gotobeds Blood but if you’re digesting the same buffet of influences (“Swell Maps, Mission of Burma and old Fall records”)
it’s hard not to crap out something similar.
Surprisingly though, more often than not, it works. The band really comes into its own when they try to stretch out, as on the impossibly tense
‘Rope’ or enthralling sevenminute closer ‘Amazing Supermarkets’, which is a dense slacker sprawl with a glistening pop heart.
Still there’s no arguing with the brutally anthemic ‘Bodies’ or the swooning ‘Glass House’, which could almost be described as pretty.
The Gotobeds probably won’t change anybody’s life, but they probably wouldn’t care if they did.
For a while, this affected her work as she tried to second-guess what her audience wanted from her.
“There was a period where I thought it paralysed me,” she says. Luckily, she was able to seize back the reins.
“The world kind of disappears. When I write I’m not thinking of anyone but myself. I am the protagonist, I’m the drama queen,” she laughs.
“It’s all about me.”
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