“How do we go on, after love is gone?“
Basement, as a band, have built a strong reputation around not sticking to one specific sonic lane. Throughout their history, starting in 2009 with breakout projects like Songs About the Weather and I Wish I Could Stay Here, they have blended multiple soundscapes, ranging from emo and post-hardcore all the way to a more 90s alternative rock and grunge-inspired sound. They have always remained authentic to the core, consistently working from both their current influences and the ones that shaped them early on, without conforming to the strict rules that some genres & big record labels demand, that some other bands often fall into.
Eight years on from their last full release, it feels fair to say that listening to WIRED comes across as a complete mental reset for a band that has battled through multiple hiatuses over the years, while still holding onto their identity.
The strong opener “Timewaster” starts with a short, raw drum fill, a really fitting personification of the band picking up right where they left off, this time sounding more evolved and somewhat healed? With lyrics that carry a strong sense of admiration, “So alive and so divine” captures both the beauty of the person being described and a sense of satisfaction with the stage of life they’ve reached. A lot of the core themes across WIRED revolve around this sense of peace, maturity, and growth, which acts as a clear contrast to the more self-deprecating lyrics found in their earlier work that reflected their teenage years, where themes of longing for love and dealing with failed relationships were more prominent.
This evolution really stands out in the wistfully melancholic ballad “Embrace”. The band draws you in with subtle, almost enchanting noise, before delivering a chorus that drops you straight into the pits of all your emotions, something they have consistently done so well over the years. If Basement had written this track over ten years ago, it likely would have come across as far more mournful and heavy in tone. Here though, it feels different. The themes of caring deeply for someone, while also recognising that things cannot continue, show a level of introspection that the band could only really reach at this stage in their lives, similar in feeling to Never Meant by American Football.
At points on WIRED, Basement feel like they have reached their rawest form, with drums from James Fisher that feel straight out of the hardcore punk side projects like Dynamite that he involves himself with. The expansion that Basement have had throughout their time as a band, emerging from the depths of the UK hardcore scene, is really commendable this late into their catalogue. They’ve managed to expand past the confines of what hardcore is often described as, in sound and demographic, similar to what Turnstile has done recently with NEVER ENOUGH, while still maintaining the respect from their origins.
The album continues to move through a wide range of sonic highs, constantly keeping your attention and never really letting it drift. It leans more into the indie rock direction they have been moving toward in recent years, while still bringing in flashes of their grungier roots, especially reminiscent of Colourmeinkindness.
At the same time, there are interesting touches of early 2000s Britpop scattered throughout, particularly in songs like “Pick Up the Pieces”, which pushes the tempo forward with jazz-style drumming and a genuinely catchy chorus. Some more unusual experimental instrumental features too, like the wiry, abrasive tones & electrical twangs in “Deadweight” that almost feel like being bounced around inside a circuit board, keep the listening experience engaging and stop it from ever becoming too predictable.
From the clean, reflective, and understated vocals in “Broken by Design” all the way through to the more intense and cataclysmic screams that “Sever” offers, Andrew Fisher is clearly giving these songs everything he has. This album is the most vocally varied performance that Basement have delivered across any of their projects to date.
A few awkward moments in the track-list do show up, particularly in the single and title track. The chorus feels so close to being part of an incredible song, but Andrew’s vocals come across slightly awkward, a bit too stripped back and somewhat out of place compared to the rest of the instrumentation. It leans into the jagged aspects of the record and that seems to be the aim with the chorus contrasting with the rest of the song. It will be interesting to see how it cements itself over the years in their discography.
On the second half of the project, there are also points where repetition creeps in, with choruses that rely heavily on simply repeating the title of the track multiple times. It works in certain songs and can be effective when the energy is right, but in other moments it feels a little unimaginative and does not quite land the same way.
These small critiques do not take away from the overall quality of what Basement have delivered here. There are moments across WIRED that feel like anthems waiting to soundtrack countless summers to come. Whether you are in your car on a road trip, with the windows fully down and the sun glaring off your windscreen, or out late at night stargazing, thinking about your future or reflecting on your past, this band continues to meet you in those moments. They help you process the more complex emotions that come with life, often through simple ideas, small moments of clarity, and honest introspection that feels genuine and earned.
The closer “Summer’s End” is the perfect track to encapsulate this feeling. The authenticity that this band possesses, has not been lost or strayed too far from its path. Instead, it has been adapted and built upon to reflect the lives that they and their listeners live on a day-to-day basis, capturing both the lows of struggling to move past trauma and the highs of finally being able to look back and feel proud of the person you have become. A testament to the human experience.
8/10
Wired is out May 8th via Run For Cover Records, and can be pre-ordered here.