Mancunian synth pop outfit W.H.Lung decided to try something new on their third album Every Inch of Earth Pulsates, in order to capture the energy, spirit and dynamism of their live shows. Something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country.
They relocated to Sheffield to work for the first time with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club), who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says singer Joseph Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” guitarist Tom Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face. He brought a real dose of magic to the songs we’d written."
While this album, which follows Incidental Music (2019) and Vanities (2021), is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett.
Today they share a new swaggering synth-pop cut ‘The Painting of the Bay’, showcasing a different, more synthesised side to the record. Singer Joseph Evans said of the single: “On the day this song was written I was hurting and had gone to a gallery to try and find some peace. I stood for a while in front of a painting by Cezanne called ‘The Bay of Marseilles.’ I love this painting but I was looking and looking and just feeling nothing, which made me feel worse. I came home and found that Tom had sent me an idea he’d done on the acoustic and straight away the whole song just took shape, I think I wrote it stood up in the kitchen.”