The Mu-Tones are an alternative rock, garage band from Manchester, whose direct and honest music stays true to their guitar-laden roots, whilst creating their own brand of unhinged mayhem. With ex-Marion member Anthony Grantham on lead vocals/guitar, ex-Amplifier member Alex Redhead on bass, ex-Letters from Fiesta Peter Gray on drums, The Mu-Tones are a condensed package, a sturdy trio whose music goes back to basics, through a catalogue of earthy, singed and abrasive tones.
In an age where music can easily be manipulated, programmed or electronically enhanced it is a pleasure to hear music that flies the flag for alternative rock which doesn’t have to rely on gimmicks or pretentious sensibilities to gain any form of credibility. Instead The Mu-Tones are as down to earth as they come, a tirade of fluctuating mental states, short-lived crisis and chaotic transitions. They are a band who bridge the gap of British and US alternative rock, tapping into the youthful remnants of Nu Metal, syncopated with noise pop, proto-punk and indie punk, whilst reviving the classic vigour of post-punk.
Having released their debut single, “Slab City Records”, in 2018, The Mu-Tones have been working on their new material, with an imminent album and tour in the pipeline. As a debut single, “Slab City Records”, prowls and slithers in an intangible revolt of devilish charm. It’s a brilliant track, whose Stranglers-esque bassline roams like a predator amidst the strobelights, strums and shrieks. Through the possessed vocals and primal wails, “Slab City Records” lurks in the darkness whilst re-routing its angst.
“Fat Lip” swaggers with come-hither, hard-hitting riffs, straight from the archives of scratchy, alternative metal, post-grunge, rock-rap and hard rock. It’s a great track, whose delirious vocals preen and stagger aside the adrenaline – induced backing vocals and throbbing bass. What could be a long-lost son of Janes’ Addiction and Pixies, “Fat Lip” is a great reminder of unadulterated, solid rock that has stood the test of time, whilst capturing the psyched-up sentiments of the track.
Through the oscillating, reverberating riffs and catchy chorus, “Hula” is slyly anthemic and whose impeccable vocals lift the track towards stadium skies. It’s a great track whose stabbing beats and spiked riffs take a gutsy dive into the post-punk mosh pit. Along with the dual vocals and murky mesh, “Hula” roams freely from the chains of synthetic sounds with euphoric emancipation, waving its arms about with a triumphant grit and dexterous determination.
“Won’t Stay This Calm Forever” is an infectious more subdued track, which sees Granthan release his melancholy through his succinct lyrics and elongated vocals. It’s the morning after the night before, whose hungover emotions seep through the cracks of familiar territory. Through the jangly riffs and robust beats, “Won’t Stay This Calm Forever” effortlessly drifts, spins and rotates repetitively between the crevices of space and time, whilst creating a bona-fide rock song.