Consider the Backfires: An Explosive EP Embracing Unpredictability
Photo courtesy of The Backfires
Cover Art by Hadley Crow // @hadleycrowart
Backfire [bak-fahyuhr] : to bring a result opposite to that which was planned or expected
(via Dictionary.com)
“We live on different coastlines'’, the lyric opening The Backfires’ debut single “Anything”, is the only way their sound reveals the band’s separation by sea. The indie-rock band based on both sides of the Atlantic features frontman and vocalist Alex Gomez, lead guitarist Harry Ruprecht, bassist Matt Walter, and contributing drummer Max Wanduragala. 2020 (before it brought COVID, of course) briefly reunited Gomez, Ruprecht, and Walter in the UK for the chance to record what is now known to be “Consider the Backfires” last January — up until this point, the band spent the moments in between their trips to North America and London holding collaborative songwriting sessions over FaceTime and Zoom.
Image courtesy of Sound Digest // SoundDigest.com
For about two and a half weeks, Gomez, Ruprecht, and Walter were joined at the hip. Stressful studio sessions stretched into never-ending nights cramped in their North London flat, the hours indistinguishable as the haze of exhausting agitation clouded each passing day. According to Ruprecht, “there was definitely a breakdown between me and Alex’s relationship halfway through [the recording process], which I think manifested in the songs… particularly with the drum masking it.” Gomez confessed that almost three months had passed before he really listened to the songs they recorded.
The pandemic may have paused the group’s in-person progress, but it also played into their rebranding as The Backfires. Spring and summer stay-at-home orders forced the band to take a break and reflect on their existence. During the mixing of the six-song EP, the band decided they wanted a name all-encompassing of their chaotic experiences.
“It’s not only consider us as a group, but it’s also like consider the challenges or backfires we’ve had along the way to getting where we are,” Gomez described over Zoom. “There [were] a lot of tense moments because we were really trying to figure out what we wanted to sound like, and part of our issue was the fact that we didn’t necessarily have all that time to be in one place and be like ‘this is how we’re gonna do this’.”
Despite the expectations and frustrations inevitably ingrained in The Backfires’s experience, their EP houses their passion and strong personalities under one cohesive sound. Each fast-paced track highlights Gomez’s reflective lyrics, Ruprecht’s guitar-driven energy, and Walter’s echoing bass.
Within the first 30 seconds of “Preoccupied”, Walter’s reverberating bass establishes a mellow yet memorable vibe that instantly captivates the listener. As the steady beat builds, Gomez’s ascending vocals add a layer of depth that transitions perfectly into the track’s bursting refrain. Each lyric emphasizes the melodic heights Gomez’s voice is capable of while simultaneously depicting how warped time can feel in intriguing situations; Wanduragala’s drumming mimics the rushed heart palpitations triggered with a progressing infatuation. The strings effortlessly melt together, yet Ruprecht’s distinct chord strikes signal to the crash of emotion overflowing the song’s chorus. “Preoccupied”’s final verse illustrates the intangible urgency, and the shifted priorities in thinking and action, attached to being engrossed in the unpredictability of a new crush. The lyrics “For how long now will I / Spend my time on something / So absurd, you know I won’t forget a word” speaks impeccably to the ways the mind clings to the smallest details a person offers us, no matter how minuscule or outlandish the information may be — it both satisfies and fuels the obsessive crave for more.
“Falling” presents a softer, smoother side to Gomez’s voice. The song accurately describes the uncertain and codependent characteristics that encapsulates a complete surrender to emotion. The lyrical content stresses the yearning, as well as necessity, for the counterpart to validate and deliver these same feelings. “Falling” excellently displays not only the ingenious control each bandmate harnesses over their respective craft, but also the alluring and rapid pull of caving into a new connection. Ruprecht’s multiple solos reinforce the seductive nature surrounding the song, its varied elements entrapping the listener in the same trance that exists while getting lost in love. The bridge unearths the band’s rock-and-roll core. Its harsh vocals and instrumentals insert a surge of unbound energy as the track peaks, mirroring the same intensity reached right before the point of no return in a relationship. Walter’s thick presence offers a gentle cascade into the latter portion of the song; his instrument contributes a certain complexity that goes beyond the typical baseline beat, yet still acts as the harmonizing factor that ties the track together.
“Before the Sunrise,” both literally and metaphorically, represents how the darkness of night can mask the reality of one’s true intentions. At first, it’s easy to question if the lyrics “The morning pillowtalk would never be profound / So we tell ourselves as we board the train / Of lonely lovers” hint at an avoidance of emotional affection. It makes it seem like it is less painful to brush off the instance instead of exploring the possibility of it being deeper than a one-night stand. In actuality, this decision may be the one bringing them closer to the heartache they’re trying to escape. Clarity shines through the final verse with the line “And I force happiness” — this single statement proves that there is a desire to find any shred of elation to distract from a lack in intimacy. Choosing to end with the chorus simply emphasizes the comfort in retreating to familiarity, no matter how toxic it may be. If the lyrics weren’t already telling enough, Ruprecht and Wanduragala give life to the song. Wanduragala’s pounding drums portray the swiftly flirtatious progression of hot-and-heavy moments. His additions continually match the band’s stamina, and like Ruprecht they showcase the array of experimentation bridging the gaps in the song together. Their instrumentals, especially Ruprecht’s guitar solos towards the track’s last moments, wraps listeners in the exact exhilaration that’s enticing about impulsive flings.
Venturing away from intimacy and into introspection, “The Man” begins to unpack the indecision behind chasing highs from substances and people. The track embodies every carefree aspect that attracts one to seek fulfillment in temporary fixes. Like intoxication, the solace only lasts for a set period of time; the sobering realities exposed at the introduction of the song’s bridge. Within a matter of lines, Gomez switches the perspective from the first to the third-person narrative. In fact, the lyrics up to this point are completely defined by outside perspectives or influences that would bring the most satisfaction. This substitution of pronouns calls attention to the removal and abandonment from his personal thoughts, decision, and body. Perhaps the most honest part of this song lies in its chorus — Gomez knows that his choices are only going to end in destruction, yet he is unwilling to turn away from the euphoric thrills. His pronunciation of the last “down,” and the orchestration of the instruments that follow it, is the sonic representation of being high: the rising noise quickly transforms into a rupture of volume, which abruptly stops before the user can even process that the end is near.
Similar to “The Man,” “Going Gets Easy” dives into the instant gratification fueling continuous nights out and its temptations. Although the chorus lyrically stays the same, Gomez’s accentuation on certain lyrics is slightly altered throughout the song’s advancement. These vocal variations express the different experiences that are ultimately associated with the same outcome. In a larger sense, Gomez’s ability to hit some of the highest notes included on this EP points to the limitless ways he pushes the parameters of his voice. Gomez’s crooning matches the instrument’s intense noise throughout its fluctuating rhythm. Each sound has its chance to shine, which sheds light on the versatile dimension the instruments add to the track. The stops-and-starts of Ruprecht’s guitar directs the listener’s full attention on his crashing presence, which seems to blend in yet stand out at the same time.
“Anything” is the perfect example of how the band’s subtle and stark techniques elevate their musical sound. Desperation nagging at Gomez’s heart is evident in the first half of the track. As the song reaches new heights, however, so does his tone of exasperation: the lines “No, you’re not the one who sets me free / Goodbye’s a formality” is a complete shift from the first verse, where his hesitation with last words comes to life. The amplification in the chorus personifies the feeling of being fed-up with a situation, which can extend to a significant other. Gomez’s vocalizing, backed by the band’s melody in the last 40 seconds, constructs a beautiful ending that underlines the energetic essence of the track.
“Consider the Backfires” speaks volumes for the meaning behind the term evolution: each track not only highlights the organic chemistry developed over the course of the band’s inception, but also their ability to instinctively build upon their individual talents. The EP transforms a raw, personal experience into a universal one that flawlessly depicts the tantalizations and realizations that come with navigating life’s ever-changing landscape. Walter explained how each member’s devotion to the band and each other adds vigor to The Backfires’s already heightened sound.
“This wouldn’t work if we all weren’t really good friends to begin with. I think we get along outside of music very well, and that makes playing music even more rewarding.”