Sex Hands were formed by three childhood friends from the North Wales coast. After relocating to Manchester, Alex, Dylan and Edwin played their first show in 2011 on the Comfortable on a Tightrope stage at SFTOC, Salford. A month later Joe Logan of Waiters was recruited for his sweet bassy licks and amazing posture. From then on the band has been on a rock 'n' roll whirlwind, playing shows with the likes of Trumans Water one night and The Babies the next.
After their previous releases which include a split 7" with Daily Life (on the Icecapades label, which features artwork by Sex Hands own Alex Humphreys and Manchester artist Lucy Jones) as well as the self released mini album, Season One (Giant Hell), this is Sex Hands proper-real-life-hi-fi-fully-rockin'-full-length record on Faux Discx/Negative Space. With artwork by Manchester based artist Mike Redmond that compliments the bands rough around the edges, scorched pop rock, PLEH is 13 tracks of non-stop melody mashed fun time hug and roll hits.
Influences include The Clean, Pixies and Weezer. Sex Hands are not a garage pop band, they have never practiced in a garage. They never practice.
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There seems to be a lot of lofi twee indie pop revivalists around at the moment. Luckily, some bands are not content to just rehash all the retro tropes of the genre but actually bring something new and engaging to the table. Such is the case with Sex Hands, whose messy exuberance and slightly perverted sensibility adds a definite edge to their take on the classic formula of jangly guitars, unfussy rhythms and hazy melodic vocals.
On the face of it this album is a trashy affair of naive songs that occasionally stray into more deranged, abrasive territory- sounding a bit like a cross between some melodic 60s beat combo and The Pixies, but recorded on Pussy Galore’s mobile recording unit. But listen closely and you’ll find some decidedly wonky and paradoxically intricate guitar lines, not far off something like Trumans Water (who apparently they’ve supported) weaving their way behind the dementedly upbeat, reverb drenched melodies. There’s not much variation across the album but they consistently nail a weird and slightly queasy sense of walking that fine line between tweesome fun and serious fucked-upness.
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