Kermes

Imagine a band that combines the Pixies, Cloud Nothings, and whatever the musical equivalent of a high kick is, raised on a diet of Queen, Sleater-Kinney and Jeff Wayne’s War of the Worlds soundtrack, and strapped to a Catherine wheel with the word “QUEERCORE” scrawled on it. Got it? Good. You’ve just imagined a very good band - arguably the best possible band - and it’s my pleasure to inform you that that band is, in fact, real. My dear reader, my sweet summer child, the name of that band is Kermes.

Kermes is an multi-legged pop monster from Leicester, previously described as “theatrical”, “captivating”, “sparkling”, and “from Leicester”. Over the last 3 years of touring the UK and Europe with the likes of <a href="spotify:artist:7625dNOd552CCLYVObfTxe" data-name="itoldyouiwouldeatyou">itoldyouiwouldeatyou</a>, <a href="spotify:artist:55ySFOf65V8y6oHeSh6DJK" data-name="Happy Accidents">Happy Accidents</a>, <a href="spotify:artist:3yJdrYDYsEvC5Gu6FtNJ64" data-name="Personal Best">Personal Best</a> and <a href="spotify:artist:7gzXeFUDWz0aqhikdkOJxQ" data-name="Crywank">Crywank</a>, they’ve built a reputation for chaotic and euphoric live shows, (unintentionally!) breaking all of their equipment, and awkward third-person biographies. Their debut album, &#39;<a href="spotify:album:13T5XTO9nxKJYcX5z5kYRJ" data-name="We Choose Pretty Names">We Choose Pretty Names</a>&#39; (2018), tackles gender dysphoria, horrible men and dysfunctional relationships with “fearsome intelligence and attitude” (Kerrang), wrapped in a delicious package of “confrontational agit-pop” (Drowned in Sound); their mothers claimed to like it, but who can ever be sure? Anyway.
Kermes! They are your favourite band’s favourite band’s favourite band! Please clap!

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