AUTOBAHN release new single ‘Future’

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AutobahnLeeds-based quintet AUTOBAHN will release their sophomore album ‘The Moral Crossing’ on November 3 via felte (in the Americas) and Tough Love Records (rest of world). The album can be pre-ordered now on limited edition vinyl, CD and digitally at the felte online store. In anticipation of the upcoming release the band is sharing the latest single lifted from the forthcoming album. Future is out now and you can take a listen via YouTube below.

About the song, frontman Craig Johnson says: “The song is about looking forward and supporting one another through darker times. It’s an attempt to be positive.

This is probably the closest we’ve got to a pop song, there’s definitely influence from the likes of Human League and Gary Numan in there. I remember trying to work out how to structure this type of song, so we leaned on the Wham! classic Club Tropicana for a leg up.”

A sliver of strings, a squeal of feedback, pulsing drums, sheets of steely guitar and sonorous bass, and a rough, declamatory voice – from these primary components, AUTOBAHN reveal their second album, ‘The Moral Crossing,’ which adds more finesse, dynamic and color to the commitment and energy shown on their 2014 debut ‘Dissemble’ – an album that Louder Than War described as, “driving, powerful and passionate… tapping into addictive darkness of our past and reminding us that that we cannot escape its attractive desolation.”

While ‘Dissemble’ was made by imagining what the late, great producer Martin Hannett would do, ‘The Moral Crossing’ is the sound of what AUTOBAHN would do. To capture the new sonic details of the band, lead singer and principal songwriter Craig Johnson, guitarists Michael Pedel and Gavin Cobb, bassist Daniel Sleight and drummer Liam Hilton decided to give up their practice room that doubled as a hardcore/punk venue (which influenced their original sound, as did a love of The Birthday Party) and build their own studio space.

They found a former double-glazing firm, under a disused bridge, in Holbeck (Leeds’ red light district), and despite having no experience of such a job, they undertook this feat. It took a year from ripping out the existing contents to finishing the album – which was then mixed in New York by Ben Greenberg, known for his work with Sacred Bones.

On top, Johnson taught himself how to make a record after the studio was built. “I was down there nearly every night,” Johnson recalls. “It was pretty horrible at times, but worth the pain to have control over everything. We’ve had the chance to create the sound we want, at times it’s more melancholic, and romantic.”

Part of the shift comes from Johnson’s newly honed melodies such as Vessel and Torment, part from a greater use of electronics, such as the synthesiser underpinning a haunting Future, evoking neon-lit rainy-nocturnal rides through a cityscape, likewise the album’s title track, which is one song to benefit from the judicious addition of violin and cello. “I’d been listening to classical music, and I’d seen the Warsaw Philharmonic Orchestra doing Beethoven’s Ninth, which was mint, but I felt out of place, that people were looking down at me,” Johnson recalls. “So, it’s good to bring some of that to the record. A couple of tracks, ‘Torment’ was one, we ended up replacing the guitars with strings – whatever was best for the song. Like the French female voice in “Torment” too, it just felt right.”

This time around, AUTOBAHN decided to create their fearsome depth charges by building the tracks as they went along rather than working on completed songs. As a name, AUTOBAHN has been a bit misleading, as they sound quintessentially Leeds, not Munich or Dusseldorf, but Johnson chose the name because he loved the repetition of rhythm. With Hilton – surely one of the best young drummers alive – driving, Johnson requested they all, “imagine they were all different part of a machine: a steam engine, say. Again, it just felt right. And then we put it all together. The lyrics came right at the end.”

Johnson’s lyrics on ‘The Moral Crossing’ combine to form a whole: the theme of a birth, “but that person had no choice in the decision. And then it’s about the different outcomes that could happen. Which could be glorious or torturous.”

The words and songtitles suggest more torture than glory – for example, “A selfless crucifixion / You’ve nailed in the hard sell” in the manic Obituary: “Pain out of control” in Torment: “With your withered hand / Drag me deeper into the fallen ground” in the escalating drama of Fallen – a word, alongside “fall”, that crops up in several songs. Though Johnson points out that another line from “Fallen”, “Give a break to that child in the noose” is an example of AUTOBAHN’s, “dark northern humour” (another example was the billboard ad for Dissemble: a hearse, parked outside a funeral parlour, with the band’s name in flowers, next to a group of kids holding balloons…)

And though Johnson admits to sudden negative episodes (documented by Low/High, another slowburner that eventually bursts into flames), “they don’t last long. Actually, as a band, we’re more optimists. I don’t find talking about this stuff as ‘dark’, but it’s stuff people don’t usually want to talk about – execution, rising from the dead, depression, feeling utterly lost and unsure where to go. To understand the moral crossing, to go one way or the other, and how it can change your life. For me, saying this stuff out loud give the feeling that there’s a future.”

On Low/High, Johnson sings, “You’re floating higher now / No more discontent” and in the part-spoken word litany that is Creation, “I want to be there for you / I want to rise on through.” To reinforce the optimistic feeling, gospel singers from the local church sing on both tracks. “I wouldn’t call it ‘holy’ but some of the lyrics they were singing were about going to a higher place, even if the whole lyric might contradict that,” says Johnson.

AUTOBAHN have checked their own moral compass, and chosen the hard way – not just building their own studio, but to keep confronting the dark stuff. But their music is infused with the joy of exorcising the darkness: to be there, and rise on through.

The self-produced ‘The Moral Crossing’ will contain 10 new songs from the band.

Track listing

1. Prologue
2. Obituary
3. Future
4. The Moral Crossing
5. Torment
6. Low/High
7. Execution/Rise
8. Creation
9. Fallen
10. Vessel

 

Autobahn will follow the release of their album with a full UK tour.

Tour dates

November 4: O2 – Oxford
November 5: Brudenell Social Club – Leeds
November 8: Louisiana – Bristol
November 9: The Lexington – London
10-November 10: The Joker – Brighton
November 11: Heartbreakers – Southampton
November 16: The Cookie – Leicester
November 17: Record Junkee – Sheffield
November 18: Undegun – Wrexham
November 22: Broadcast – Glasgow
November 23: Sneaky Pete – Edinburgh
November 24: Ku Bar – Stockton-on-Tees
November 25: The White Hotel – Manchester