OSWALD SLAIN’s latest inspired by an après-ski life and, “It has a stupidly long title”

AHEAD of October’s debut ‘BUCKY’ album, Bristol’s highly regarded OSWALD SLAIN unveil new single, ‘Have You Got What You Came Here For?’

“Rhii Williams [drums] and I spent a couple of months playing in the bars around the French Alps as a little rocky two-piece,” said vocalist and lyricist, Charlie Fitzgerald.

“Everyone was always super drunk, and it was pretty full on. The crowd just wanted to sing along and dance after a day skiing on the mountain so we would play songs people knew and never really played any original stuff. The movie ‘Saltburn’ had just come out and ‘Murder On The Dance Floor’ was having a major resurgence. So we played a version of that quite a lot.

“I wrote the lyrics to ‘Have You Got What You Came Here For?’ in the morning after a particularly fun night playing at Cavern Bar in Morzine. The track came alive in the studio with Ryan laying down all the incredible bass bits and Rhii just slaying that drum part. It’s angsty, rebellious and one of our favourites to play live. It has a stupidly long title and some pretty risqué lyrics. It’s definitely the terrier on the upcoming album and stands out from the crowd – hopefully in a good way.”

Produced in-house by Ryan Rogers (Mumble Tide) and the band at their DIY home studio, ‘Have You Got What You Came Here For?’ was mastered by Jason Mitchell at Loud Mastering (PJ Harvey, XTC, Big Special).

Oswald Slain’s eight-track long-player (October 24) arrives six months following the release of their debut EP.

“Making this record was a massive turning point in our lives,” added Fitzgerald. “After being a bit unsure of where things were headed and what we were doing, the days spent recording these songs in our little studio were the moments of clarity we needed to get the ball rolling with something new and creatively exciting. 

“’BUCKY’ is a short album that captures our moments of surrender, growth and hope within a chaotic and cluttered lifestyle. We made the record pretty quickly, writing songs in the morning then recording them in the afternoon, for the most part pretty live using a cheap dynamic mic on the vocals with no separation from the drums.

“We weren’t seeking perfection, but it felt good not to be too precious about anything. We were living with Ryan Rogers at the time who took a lead role in producing it and added some impeccable enthusiasm which was exactly what we needed, and it was nice to make something that felt honest, fun and vulnerable.”

Further information HERE