Die So Fluid are a rock three piece, and very much like many classic trios that have come before they create a noise much bigger than the sum of it’s parts. Debut album “Spawn Of Dysfunction” was released back in 2004 and since then the band has toured in over 20 countries and their albums have charted anywhere from Taiwan to Turkey.
In 2001 there was a burgeoning live scene bubbling away in the subterrane of London’s rock clubs. It was a sort of British wave of nu metal, which wasn’t a good thing according to the music papers (yes they were still made of paper at the time) but the teens who had recently been weaned on Deftones, Korn and Limp Bizkit were happy. The bands themselves were impassioned and stupidly optimistic, seeing as the industry had already slumped into a mindset that rock was something Britain did in the seventies and should be laughed at now. Anyway sitting at the back and to the left of the class was Die So Fluid, who never really fit in, what with their glamorous singer who didn’t rap, jeans that only one person at a time could fit in and music that recalled the influence of Shirley Bassey and Siouxsie and the Banshees as much as Black Sabbath and Tool. They learned pretty quickly that if you’re going to be weird you’re going to have to do a lot yourself. Consequently after releasing two singles on Sacntuary the band formed their own label and released ‘Spawn of Dysfunction’ . The album was universally well received and is still selling through the major chains of the UK and digital outlets worldwide. Promotion of ’Spawn of Dysfunction’ almost solely relied on the band touring the UK which they did tirelessly, turning up for over 300 shows between 2003 and 2006. Apart from pursuing a campaign of playing their own shows off the beaten track Die So Fluid supported bands like Drowning Pool, Vex Red, Clawfinger, Boy Hits Car, Feeder, Girlschool, Antiproduct and The Wildhearts. Further promotion of the album came from a video featuring the babes and the fighters of a metal wrestling event.
Recording for ‘Not everybody gets a happy ending’ started in 2005 with the album’s opening track ‘Gang of one’. The finished recording was so good it actually caused a crisis within the band as they mutually agreed the song was the pinnacle of what they had been trying to achieve musically on ’Spawn of Dysfunction’. But in the end it was this realization that freed them to explore a wider range of influences and styles. So songs like ‘Existential Baby’ and ‘Test Confessional’ draw on Al’s ska background and ‘Throw you away’ features an Egyptian string arrangement thanks to one of Drew’s colleagues in, Gypsy troupe, The Death Orchestra. The finished record is the product of multiple sessions scattered over a two year period. The title track was picked partly because of the long drawn out recording process and, at the time, no prospect of a release. Their luck changed in 2007 when the band partnered with anew backer and ‘Not everybody gets a happy ending’ was made flesh. First single ‘Happy Halloween’ was released worldwide on iTunes on November 2nd 2007 and coincided with a Halloween festival appearance in Helsinki and Die So Fluid’s portrait by Paul Harries appearing on Finnish postal stamps. He also directed the video for second single ‘Existential baby’. ‘Not everybody gets a happy ending’ was released in the UK in February 2008 to a great response and immediately entered the retail sales charts. The band then diligently followed the cascade of international releases – touring Finland, the USA (twice), Germany and the rest of Europe, appearing in nearly 20 different countries in 2009. As well as headlining small festivals in Portugal, Germany and Switzerland Die So Fluid supported Eisbrecher, Mindless Self Indulgence, My Ruin, Ill Nino, Maj Karma, and Prong.
2010 saw the release of ‘The World Is Too Big For one lifetime’. The press came back with positive reviews and with the help of videos ‘Mercury’ (playlisted on Scuzz and Kerrang) and ‘What a heart is for’ the band’s audience continued to expand leading to sell out shows at the Scala and Dingwalls in London and Virgin Oil Company in , home from home, Helsinki. The live popularity was also reflected in requests for festival appearances in Finland, Holland, Spain as well as the UK including 3 appearances for Hard Rock Hell. The album itself was viewed by the band, and producer Mark Williams, as a consolidation of the sound they had previously strove for. This was the first time the band had anything like a conventional ‘month in the studio’ album recording session. The record has been the band’s best selling yet and helped push their Spotify play count over 5 million. From the middle of 2011 the band went on hiatus, barring a few live commitments including two sell out London shows and a performance at the London Bass Guitar show. During this time obviously an album was written and recorded but also Die So Fluid’s entire catalogue was reclaimed by the band, from various international licensees, and reissued under their own labels. Since the release the band has completed UK and Finnish tours and are putting U.S. And wider European dates in place for 2015.
In 2014 the band released their fourth album. “The Opposites Of Light” represents three incredible songwriters and musicians at a peak that took 15 years to reach. The title ‘The Opposites Of Light’ began as a joke reference to the material that was either dark or heavy. But the title stuck because , not only do they like a bit of word play , the band really liked the prog connotations. The final sequence features eight songs featuring some of the heaviest playing the band has recorded and 8 songs going down some dark and introspective paths only hinted at on previous releases. Egyptian violin virtuoso Samy Bishai returns to provide strings on several of the recordings and he is joined by Ivan Hussey on cello. The band entirely self produced the record to maximise the time spent on performances and sounds and after extensive tracking Mark Williams returned to mix. Also featured is a mix of ‘Comets’ by long time supporter, and renowned producer, Sylvia Massy (Tool, System Of A Down, Johnny Cash…). The result is the most complete Die So Fluid record yet – heavy, with a flair for post punk experimentation, but also showing off the band’s capability for writing beautifully crafted songs.
Grog: Vocals and Bass
Drew Richards: Guitar
Al Fletcher: Drums
Photographer: Tina Korhonen