Following a sold out London show with Swearin’, Cambridge indie pop trio Mammoth Penguins are delighted to announce that they have signed to Fika Recordings and that their third album, There’s No Fight We Can’t Both Win, will be released on 26th April 2019.
The band are streaming lead single ‘I Wanna’ today, listen and share here:
“‘I Wanna’ is a super simple song about how liking someone can unlock a load of creativity and energy,” comments vocalist Emma Kupa, “and suddenly there are so many possibilities and so much potential, and life becomes way more fun.”
Mammoth Penguins are a 3-piece indie pop powerhouse, showcasing the songwriting and vocal talents of Emma Kupa (Standard Fare, The Hayman Kupa Band) backed up by the noisiest rhythm section in indie pop.
Their first album, Hide and Seek, was released with the much-loved and sorely missed Fortuna Pop! in 2015. Stand-out tracks ‘Strength In My Legs’ and ‘When I Was Your Age’ were picked up by BBC 6Music and Radio X, and the band played a live session for Marc Riley the following year.
But Mammoth Penguins didn’t want to stop there. Their follow-up release John Doe in 2017 was an ambitious concept album, exploring the feelings of loss and anger at a man who fakes his own death, only to return years later. It featured contributions from Haiku Salut’s Sophie Barkerwood and Alto 45’s Joe Bear, and expanded well beyond the 3-piece rock‘n’roll template, with washes of strings, synths and samples (field recordings of butter being scraped on toast, photocopiers, and Ramsgate beach helping to fully immerse the listener in the world the band have created) filling out and developing Kupa’s songwriting.
Having had their ‘and now for something completely different’ moment, the band have brought that ambition and expanded palette to the production of this new release. The sound is big, bold and confident—with layers of guitars, backing vocals and keys all adding extra muscle—but maintaining Kupa’s candid, heartfelt, confessional style of songwriting, and the jubilant power pop hooks that made the first record so special.
As with many songwriters, Kupa’s songs are derived mostly from her own personal experiences, thoughts, and feelings, be they long-lived or fleeting. “The times when people have said my lyrics resonate with them or articulate something specific for them are extremely validating for me and I hope that happens with this album,” she explains of the new record.
“Arranging the songs with Mark and Tom is a massive buzz and playing them live as a band feels so exciting. Having Joe and Faith put their mark on the album was also a massive privilege. Making a record can be an extremely slow and drawn out process that requires patience, perseverance and resilience, and because of that we are super excited and proud to be releasing this album.”
This time around, classic themes of love, loss and conflict are (mostly) given a hopeful and optimistic spin that opposition is neither inevitable nor hopeless. For musical comparisons, think Land of Talk, and Philadelphia bands such as Swearin and Hop Along, but Kupa’s insight into the everyday and her ability to pen such relatable and honest missives means that, often, the best comparison for Mammoth Penguins’ music is with your own past.
“The track is about how falling for someone can send you into a whirlwind of creativity and energy, as Emma explains, “suddenly there are so many possibilities and so much potential, and life becomes way more fun.” The joyful tone of the lyricism, is matched in the musical progression, seemingly inspired by the richer-textures of John Doe, here they sound bolder and denser than before; the guitars crunch, the layers vocal shine the drums hit like the proverbial ton of bricks. As they sing in unison with a sense of abandon and freedom, “I love you, fuck it all”, with tracks as cathartic and joyful as this, expect a lot of people to be screaming that back at them soon.” For The Rabbits
”It all kicks off with fuzzy guitar riffs opening the scene for Emma to jump in with her voice; her lyrical content is one of infatuation/love and a willingness to “fuck it all, fuck it all” in the name of love. But, what’s interesting to me, is the way the song winds down, ever so slightly for a musical interlude to flex musicianship, just before bouncing back into the swing of things emphatically.” Austin Town Hall