Liquid Swords

Through groove, absurdity, and technical discipline, Geordie Greep pushes musical expression towards an exhilarating breaking point.

- INDRAN PARAMASIVAM

WHEN A MAN summarises his band’s philosophy as “let’s try and make the craziest music possible”, it becomes impossible to forget.

There are several reasons for this, but the most significant is that the implied audacity of that statement testifies to not just a sweeping will of expressive power, but an extraordinary depth of expression to draw from. When I meet Geordie Greep backstage in Singapore before his debut performance, the atmosphere around him already hums with the same restless velocity that animates his remarkable 2025 album, The New Sound. Our ensuing conversation leaps between Latin rhythmic theory, irony, grotesque humour, guitar practice, and the necessity of retaining a degree of naivety in art before knowledge calcifies into imitation. It strongly mirrors the arc of the album.

The shadow of Greep’s former band, Black Midi, inevitably looms across all of this. Across three albums, the London outfit established itself as one of modern rock's most searingly unpredictable forces, forever careening away from convention with ferocious volatility. But where Black Midi often drew power from negation and rejection, The New Sound feels driven instead by pursuit, channelling groove and theatricality into songs whose excess is rendered with devastating precision.

LIGHTS IN THE GUTTER