It’s not often you get a single from a newly-signed band that’s as entertaining and as catchy as Pleasure Complex’s ‘I’ve Got The Feeling’. Listen to this rewarding new band below.
Penning the dotted line with indie label Young Poet Records – the same label as their sonic soulmates Wooze – London-based Pleasure Complex ought to mirror the trajectory of Wooze and sail forward, away from being one of the capital’s best kept secrets, and into an international concern; their music is certainly strong enough.
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Pleasure Complex first caught our ear at the Monarch, Camden in 2017, where we rated their show as #3 of the best live shows from under the radar bands that year. Speaking of the gig, we wrote: "An art-pop explosion, Pleasure Complex need to be seen to be believed. Whether they’re arriving onstage covered in fake blood and wearing masks of their own faces, filling venues with ticker tape from party cannons or rolling around in white monster overalls, they’re never knowingly short on spectacle."
It’s the track that’s often the climax of the live show that is premiering today. It’s the most complete triumph of a recording since we’ve known them. Lyrically, it’s is an ode to the joyous thrill of free-falling into a situation that will almost certainly end in tears.
Of the track, principal songwriter Scott Rimington tells Gigwise: “'I've Got The Feeling' is a skewed love song about the contradictions of desire, and it came together so quickly we barely have any memory of writing it. Musically, the intention was to make something that on the surface might appear throwaway, but as the song progresses it starts to reveal a kind of madness and frustration. The key-change at the end represents the hedonistic rush of finally discarding all doubt and submitting to your heart (if only for a moment)."
Accompanying it is a video darkly-atmospheric visual depiction of what appears to be a nervous breakdown. The convincing method actor performance by the band's Simon Eaves stood under the dark rainy sky fits with the wonky melodies, murky guitar riffs and relentless drums.
It’s a true indie dancefloor banger and if it was written 40 years ago, we’d probably still be listening to it today. Thanks to the fine weaving of different life-affirming lines of instrumentation, there’s a glorious feel to this misfortunate trajectory in the lyrics. And it omits a protective message that the best way to deal with whatever life throws at you is to have a good time.
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