THE HUMANS ARE AN INNOVATIVE,CONTEMPORARY ROCK BAND COMPRISING TOYAH WILLCOX, BILL RIEFLIN AND CHRIS WONG . THE GROUP BRINGS TOGETHER THREE LIFETIMES OF MUSICAL EXPERIENCE, EXPERIMENTATION AND CRAFTSMANSHIP. THEY WILL DIGITALLY RELEASE THEIR THIRD ALBUM STRANGE TALES WORLDWIDE ON 1 MARCH 2014.
THE HUMANS were formed in 2007 after Toyah was invited by the Estonian ambassador to tour Estonia. Highly experimental, the band reflects the distinctly different musical backgrounds and life experiences of its members. This creative formation marked a radical departure for Toyah who comments: “The songs are deconstructed down to the bones of raw experience, exposing human nature and irony”. Dispensing with the conventional rock band line-up, the DNA of The Humans consists of the voice (taking much more of a role as instrument) flanked by two bass players, with no designated drummer or guitarist. Although recorded and live work can include programmed drumming, beats or guest guitar, the intention is to allow space for the vocal to sit above and alongside the soundscape rather than compete with the noise of a rock band.
To date the band have released two studio albums; We Are The Humans in 2009 and Sugar Rush in 2011. The Humans digitally release their third album, Strange Tales, digitally in March 2014, The Humans will play live gigs in support of the album release in the West Coast of America later this Spring. In a double-bill with Slow Music (Bill Rieflin, Robert Fripp, Peter Buck, Matt Chamberlain)), two live dates are confirmed for Seattle’s Triple Door Club on 14 and 15 April 2014. This is followed by dates in Portland with details to be announced soon.
Strange Tales will be released digitally worldwide on 1 March 2014.
Recorded in Seattle, seven tracks make up the third album created by the transatlantic band comprising Toyah Willcox, Chris Wong and Bill Rieflin. Rieflin once again helmed production of the album. As previously stated, this third instalment in the musical adventures of The Humans adds more instrumentation into the mix with saxophone and violin featuring for the first time.
The confirmed track list is:
SUGAR RUSH ALBUM REVIEW / elsey Valadez
The Humans’ new 13-track album, Sugar Rush, is experimental, edgy in the simplest of ways, and nothing you can ready yourself for. It’s the musical equivalent of a drive through a part of town you’ve never seen, and just when you think you’ve got the area figured out, you pass a sign welcoming you to the nearby town with restaurants of a different vibe, and even the sky looks a bit different. But don’t consider driving back now, because you’re on a one-way and the scenery stays intriguing.
The opening track “Titanium Girl”, is gritty, with even grittier lyrics. Things slow down a bit on the second track, and steadily picks back up through “Sea of Size”. A lot of the album has a deep, almost dark feel with primal drums that are never too complicated, and grungy guitars, with unforgiving vocals. But then the listener meets a track like “Put a Woman On the Moon”, which features fast synth sounds, sounding like the soundtrack to a sci-fi movie about robots and space.
Other than this, Sugar Rush is a constant shifting of dark grunge and slower-paced haunts between tracks. Toyah Willcox’s distinctive voice glides along each track in a majestic manner, while the album is carried by a consistent, prominent bass. These may be the only constants to the album, as each track has its own individual tone, and they all maintain that tone from the start of the track to finish–like chapters in a textbook, each has its unique role.
Sugar Rush has hints of a psychedelic sound with a grungy heart. There is enough experimentation to keep things feeling alive and never stagnant, but The Humans never overdo any of it. A hybrid of haunting and sweet, this album intrigues from start to finish.
CONCERT REVIEW / Financial Times, Ludovic Hunter-Tilney
* * * * The Humans are an art-rock band featuring two bassists and one, confusingly, is REM’s drummer Bill Rieflin and Fripp on guitar. Willcox, in a black PVC top, a memento of her 1970s punk roots, led the line with expressive vocals, twirling dances and stylised stage movements: Stevie Nicks meets Brechtian cabaret.
The twin bass players, occasionally complemented by programmed beats, played sinewy, rumbling rhythms, a kind of twisted funk, with Fripp contributing a range of guitar effects, from gnarly riffs and a pounding cover of Hendrix’s Purple Haze to delightfully subtle chimes. On this basis the work of Mrs Robert Fripp and Mr Toyah Willcox, as Willcox introduced herself and her husband, deserves a far wider audience.
SUGAR RUSH ALBUM REVIEW / earbuddy
The Humans have made that record we might have gotten if Tori Amos and Trent Reznor had ever come together for a full album in the late-nineties.
The band are a three piece, consisting of singer Toyah Willcox flanked by two bass players; Bill Rieflin and Chris Wong. Toyah’s smoky jazz hall voice lays over the driving bass lines which are then fleshed out with electronic effects, drum machines, and the occasional guest guitar appearance (Robert Fripp does a bit of playing on this record). Sugar Rush is the group’s second release, and it is a big one. This record sound like it could have escaped from the John Cale archives.
With the attitude of Tori Amos’ best work (but not the raw emotion), Toyah’s voice lays over these compositions that sound almost like Trent Reznor on The Fragile. The result is a record that feels slightly out of time, and comes with the necessary incongruities that come from such a melding. At times it feels like the vocal could have been recorded completely independent of the compositions and put together after the fact. Regardless, the diverging sounds are interesting enough apart and borderline amazing when they find their way to each other. Sugar Rush has the menacing and poignant feel of a jazz seance. On “Pebble”, one of the moments where the whole performance sounds as one, Toyah’s voice flutters beautifully on top of a downright scary bass drive that could have been lifted from any of the last three Tool recordings.
SUGAR RUSH ALBUM REVIEW / William Ruhlmann, Allmusic
Not to be confused with other acts of the same name, the Humans whose second album is Sugar Rush are veteran avant-garde rock singer Toyah Willcox and bassists Bill Rieflin and Chris Wong, a trio formed in 2007 to fulfill an invitation Willcox received to tour Estonia.
The singer-plus -two-bass-guitars line up may be unusual, but it is no more unusual than some of Willcox’s other projects, and in practice, the music is augmented in the studio with other instruments, notably the guitar of guest (and longtime Willcox associate) Robert Fripp of King Crimson, who appears on every track of Sugar Rush. Still, drums and drum programming are relatively minimal in music that nevertheless has a strong rhythmic impetus.
It also has a strong flavor of the synthesized pop of the late ’70s and early ‘80s as heard from such groups as Eurythmics and Yazoo, though Willcox is less angry a singer than Annie Lennox and less passionate than Alison Moyet. She has an ethereal, disembodied quality, even when the music is at its most aggressive, such as on “This Reasoning.” The effect can even be mildly hum orous , as on “Sweet Agitation,” which has something of a ’50s rock & roll/doo wop feel. All of this makes the group name “the Humans” somewhat ironic. But it will appeal to fans of later King Crimson and some of the artier efforts of new wave rock.