Slouch – ‘whiteboyfilingcabinetfaxmachinestapler’ | Track by Track


whiteboyfilingcabinetfaxmachinestapler is out now.

So it turns that Dublin alternative rock trio Slouch are not actually slouches in reality. They explore a lo-fi but tight and imposing brand of alternative rock that aims to meld the best of the genre from both sides of the Atlantic. As such you can expect the melodicism of Britpop but with a dash of the aggression of post-hardcore. 90’s post hardcore that is.

At any rate, we think it’s tongue in cheek wit is bloody marvellous. We spoke to the band about their latest single, the Google unfriendly ‘whiteboyfilingcabinetfaxmachinestapler’.


Our new single is supposed to represent the sounds of psychotic suburbia both lyrically and musically. Drawing influence from bands like Pixies, Weezer, Ty Segall and Blur around the time of their self-titled release; we tried to make music that accurately depicted the manic nature of coming to terms with mediocrity and that showcased a warped, violent and humorous view of everyday suburban drudgery. This is the first of 5 singles we are planning to release in the coming months that will eventually form an LP.

1. Whitebotcoffeemachinebaker

“Whiteboycoffeemachinebaker” is set in a sort of post-apocalyptic retail setting where every tiny, niggling detail is amplified by the protagonist’s intense boredom. Every day occurrences become grand gestures about one’s self-worth, people become trolls, the past is a remnant of the slaughter, and time is strictly regimented. It all started with Kev and Mal jamming a drum beat and bassline reminiscent of an army march and Conor added the grizzly layers of fuzzed-up guitar. Hopefully it formed some kind of crescendo in mundanity. We wanted this song to kinda have a repetitive feel which eventually boils over into a madness of whirling guitars and fuzz before the song segues seamlessly into the second track of the double single.

2. Whiteboyfilingcabinetfaxmachinestapler

Written years ago when the band was still a two piece, without Kev on bass.

Contains several references to a wedding speech the groom’s father made at a family friend’s wedding before he was slowly ushered off the stage. The song’s lyrical dramatics are set to jaunty, major key chords and bass lines. In the song the protagonist suffers a murderous break from reality, but still fears for his social standing and adheres to procedure. He calls in dead to work for himself and his wife and yells in exasperation about ruining his carpet. In keeping with the theme for the ending of “Whiteboycoffeemachinebaker” we wanted to end big on this. Kev wanted his bass to have his bass feel like timpani drums at the end of a big showtime-y tune, while Conor plays a mechanical feeling chromatic chord progression over it. Malachy wanted his drums to feel chaotic and turbulent amidst all of the mania.

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