The container opens with a cacophony of deconstructed and broken waveforms, organic samples manipulated to simulate something mechanical, unidentifiable sounds twisting on themselves until, startlingly, from zero to sixty, the full band abruptly blasts in. The container is all forward momentum, even in its quieter moments, there is a feeling of restless stirring, guiding the listener through dark alley-ways towards the singles that are more traditionally written within the canon of mainstream pop sensibility and songwriting.
The Wants‘ new single “The Motor”, in its original instrumental form, has garnered an overwhelming response live—the audience all seemed to whip out their phones simultaneously to capture the climactic danceable, though dissonant, cacophony, as frontman Madison Velding-VanDam twists upside down like a viscous yogi and fires his guitar in the air vertically. The song was inspired by an epiphany Velding-VanDam had for the spoken word element while rewatching his favourite movie introduction David Lynch’s “Lost Highway” — a racing pavement level road reveals only white dotted lines shrouded in darkness and David Bowie croons his sinister 90s industrial art-rock masterpiece “I’m Deranged”. The lyrics start with Elle’s quiet request to the band, “let’s go fast,” before they kick into high gear and unstoppable locomotion. The final mood is somewhere between Cybotron’s “Cosmic Cars”, Kraftwerk’s “Autobahn”, and Nine Inch Nails “Closer”. “The Motor” was the final song to be completed of their upcoming debut LP Container.
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