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FIDLAR - spelled in all caps - is a skate punk/garage punk band from Los Angeles California. Currently signed to Mom + Pop Music in the US, Wichita Recordings in the UK and Dine Alone Records in Canada.The band's name is an acronym for 'Fuck It Dog, Life's a Risk,' a skateboarding mantra gleaned from singer Zac Carper's former roommates.
Originally, FIDLAR went under the name 'Fuck The Clock,' as referenced in their song Cheap Beer.Members: Zac Carper (vocals, guitar), Brandon Schwartzel (bass), Elvis Kuehn (vocals, guitar), Max Kuehn (drums).
Channeling classic skatepunk, thrash, and surfy lo-fi indie, Los Angeles combo FIDLAR emerged in the early 2010s, rising from the D.I.Y. Underground to make a surprising run on Billboard's Heatseekers chart with their eponymous full-length debut, which was also a critical favorite. Named after an acronym for a skate mantra ('fuck it dog, life's a risk'), FIDLAR's freewheeling party punk was brought to a global audience over the next several years via their 2015 follow-up, Too, and 2019's Almost Free.Influenced by SoCal punk rockers like Offspring and blink-182, as well as older bands from the area (which they learned about from their dad's record collection; he was the guitarist of T.S.O.L.), Max Kuehn (drums) and his brother Elvis (guitar/vocals) were playing punk shows around L.A.
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By their teens. By the time they were out of high school, guitarist/vocalist Zac Carper and bassist Brandon Schwartzel had joined up. Later the group went the independent route and started a homespun label to record material, while embracing the reaches of the Internet and making several videos to promote their music and as motivation to film their drunken antics.Mom & Pop signed them in 2012 for their debut album, FIDLAR, which was released in early 2013.
The album debuted at number five on the Billboard Heatseekers chart and number two on the Alternative New Artist chart, and was the number one most added release at CMJ. After touring the world with bands like the Pixies, the Hives, Black Lips, and Wavves, the band ended up back home in need of a break. After starting a new album, but finding the songs and self-produced sound too FIDLAR-y for their liking, Carper headed out on a road trip, wrote a new batch of songs inspired by the music of his youth - Elvis Kuehn and Schwartzel wrote some too - and the band headed to Nashville to try again with producer Jay Joyce.The resulting album, 2015's Too, featured a more mature outlook and some musical muscle, topping Billboard's Heatseekers chart and charting well in the U.K. And Australia. Following tours for Too, FIDLAR remained relatively quiet for a period, eventually beginning work on album number three with Ricky Reed, a producer better known for his work with mainstream pop acts like Kesha and Halsey.
After a handful of advance singles in 2018, the band's third LP, Almost Free, was released in January 2019. Jason Lymangrover. Dumb fun is the name of the game on FIDLAR's self-titled debut. With a name that stems from the acronym for 'Fuck It Dog, Life's a Risk,' that fresh-faced, born-in-the-'90s, Jackass mentality permeates their 2013 debut of 14 quick songs that revel in getting baked, getting drunk, surfing, and skating. Vocalist Zac Carper is nearly diverted from his constant slacker subject matter when Uncle Sam offers him cash to join the Army in 'White on White' and when he's left in the Valley by an ex-girlfriend ('Whore'), but in each case he turns back to his old ways. The only other topic covered is how broke they are, for which their coping mechanism is - you guessed it - slamming booze, doing bong rips, and snorting coke.
Of course, where the fast-lane lifestyle is expected, and these guys are relentless in driving home the message that they intend to live every day like it's their last. Short-sighted as the party-hearty concept may be, the unbridled enthusiasm makes the album a helluva lot of fun even for those who have trouble relating to wasted youth. Where a similarly conceived band like Trash Talk waves old-school punk influences around but essentially sounds like modern metalcore, FIDLAR sounds raised on '80s L.A.
Punk acts like Angry Samoans, Fear, and Circle Jerks. Aside from the Wavves-esque digital-age recording fuzz, there's not much to differentiate 'Max Can't Surf' from a Surf Punks track, and the love for street drugs and the amped-up '60s melodies are highly reminiscent of punk forefathers the Ramones. Judging them by their songwriting skills, you could call them wise beyond their years. However, if they heard you say that, they would probably just pour a beer on your head. Jason Lymangrover.
Dumb fun is the name of the game on FIDLAR's self-titled debut. With a name that stems from the acronym for 'Fuck It Dog, Life's a Risk,' that fresh-faced, born-in-the-'90s, Jackass mentality permeates their 2013 debut of 14 quick songs that revel in getting baked, getting drunk, surfing, and skating. Vocalist Zac Carper is nearly diverted from his constant slacker subject matter when Uncle Sam offers him cash to join the Army in 'White on White' and when he's left in the Valley by an ex-girlfriend ('Whore'), but in each case he turns back to his old ways. The only other topic covered is how broke they are, for which their coping mechanism is - you guessed it - slamming booze, doing bong rips, and snorting coke. Of course, where the fast-lane lifestyle is expected, and these guys are relentless in driving home the message that they intend to live every day like it's their last.
Short-sighted as the party-hearty concept may be, the unbridled enthusiasm makes the album a helluva lot of fun even for those who have trouble relating to wasted youth. Where a similarly conceived band like Trash Talk waves old-school punk influences around but essentially sounds like modern metalcore, FIDLAR sounds raised on '80s L.A. Punk acts like Angry Samoans, Fear, and Circle Jerks. Aside from the Wavves-esque digital-age recording fuzz, there's not much to differentiate 'Max Can't Surf' from a Surf Punks track, and the love for street drugs and the amped-up '60s melodies are highly reminiscent of punk forefathers the Ramones. Judging them by their songwriting skills, you could call them wise beyond their years. However, if they heard you say that, they would probably just pour a beer on your head. Jason Lymangrover.
Taking the acronym that forms their name ('F.ck it dog, life's a risk') as a literal credo, L.A. Garage punks FIDLAR try their best to evolve past the dumb but somewhat endearing slackery of their early days with Almost Free, their difficult third full-length. For a band whose primary themes involved getting baked, getting wasted, skating, and partying, the growing pains that come with trying to be taken more seriously are going to be tough. Their spotty sophomore release, 2016's Too, wrestled with frontman Zac Carper's newfound sobriety in the face of the group's chosen lifestyle and typical subject matter; on Almost Free, they further complicate things by introducing some politics and social commentary into the mix. To their credit, FIDLAR have made legitimate attempts to get out of their creative comfort zone and go somewhere new. That said, Almost Free is somewhat of a mess. Recording at Hollywood's legendary Sunset Sound with Ricky Reed (Jessie J, Twenty One Pilots), FIDLAR strike out in a variety of different directions, landing some new tricks but slamming a lot more.
The result is a scattershot collection that just doesn't hang together very well. Gentrification-railing opener 'Get Off My Rock' is a well-intended misfire that would sound more dangerous if its edgy rap-rock didn't sound so faithfully close to the Beastie Boys' signature sound. Some of the more streamlined rock tones introduced on tracks like 'Can't You See' and the horn-laden 'Scam Likely' hit their marks more closely, but the slicked-up party-pop grooves of 'By Myself' and 'Thought. Mouth.,' plus the irritating screen-decrying rant 'Too Real,' just can't seem to figure out what they are - which is essentially where FIDLAR find themselves on this tough outing. Timothy Monger. Garage punks FIDLAR emerged in 2013 with their self-titled debut, they were lauded for their mix of classic SoCal punk (Circle Jerks, Descendents, Fear, etc.) and brash, melodic indie jangle with occasional clamorous surf tones. That first slab introduced their fuck-all world-view of cheap beer, cheap drugs, skating, surfing, and partying, and, in spite of its abrasive and somewhat simplistic subject matter, was a pretty fun ride.
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In guitarist/singer Elvis Kuehn and drummer Max Kuehn, sons of L.A. Staple Greg Kuehn (T.S.O.L., X), the band had a bona fide West Coast punk pedigree, and in frontman Zac Carper they also had a raging junkie, both adding different aspects to their mystique. On their sophomore outing, 2015's Too, FIDLAR make efforts to evolve their sound and confront their demons, all while continuing to uphold their credo of 'fuck it, dog, life's a risk,' the phrase implied by their acronymic band name. Chalk it up to growing pains and the hand dealt by living hard, but Too is definitely a mixed bag. After a harrowing two years of out-of-control heroin addiction and depression, Carper finally managed to clean himself up midway through recording and the influence of his newfound sobriety weaves incongruously among the party anthems that were FIDLAR's stock-in-trade the first time around. Carper's life change manifests itself well on the creepy acoustic dirge 'Overdose,' though not so well on the misguided 'Sober,' which tries to shed a comedic light on his issues but merely comes off as irritating.
Elsewhere though, Too benefits from the efforts of producer Jay Joyce, who injects some rock muscle into standout cuts like '40 oz on Repeat,' 'Why Generation,' and 'Hey Johnny,' highlighting the band's versatility and knack for nuance. While parts of Too show FIDLAR trying to find their footing, it's all part of their evolution and is not without its charms. Timothy Monger.