Review: Slow Century

Next up is the debut EP from Portsmouth-based quintet Slow Century entitled Goodbye Oblivion.

From the very first note, this feels like one of those records that instantly demands your attention. A beautifully crafted collision of indie, post-punk, britpop, grunge and alternative rock influences, Goodbye Oblivion somehow manages to sound nostalgic and completely fresh at exactly the same time.

Opening track and title song Goodbye Oblivion arrives with a jangling guitar line and rapid-fire drum beat before settling into a slow crooning vocal drenched in hidden darkness. The song is layered beautifully, constantly driving forward while the vocal calmly steadies everything around it before the whole track explodes into a soaring chorus that immediately lodges itself in your head.

The contrast between the dreamy verse and explosive chorus is absolutely masterful. Laid-back yet fierce. Atmospheric yet punchy as hell. It takes genuine songwriting talent to combine such opposing ideas into something this cohesive.

The influences are broad and brilliantly woven together. There are flashes of early Feeder, hints of The La’s, shades of 90’s Britpop and even touches of 80’s electro scattered throughout. Yet none of it feels borrowed. Slow Century take those inspirations and twist them into something unmistakably their own.

The middle eight is simplistic but completely purposeful, showcasing a band that clearly understand restraint as much as power. This honestly feels like a global hit waiting to happen and one of the strongest EP openers we have heard in a very long time. Even the outro alone is worth the price of admission.

Scattered Atoms picks up exactly where the opener leaves off. The song bounces into existence with a vocal delivery that hints at Marc Almond or Morrissey, albeit filtered through a far more modern lens. The poetic verse sways beautifully against the shimmering, 80’s-inspired instrumentation beneath it.

As the song builds, there is an almost Cobain-esque crackle to the vocal delivery that injects a grunge energy into the mix. It genuinely feels like the result of over 50 years of guitar music colliding together in one song.

Again, the raging outro adds authenticity and emotional weight. Slow Century clearly understand that sometimes songs should feel slightly dangerous and unpredictable rather than perfectly polished.

Then comes Cover The Bruise, which creeps in slowly and immediately showcases how brilliantly this band use space. They are never afraid to let songs breathe before pulling the trigger and exploding into motion.

The verse feels like urban poetry layered over a modern take on New Order, while flashes of early Red Hot Chili Peppers emerge throughout, particularly from the era before they became more commercial and polished. Yet again, Slow Century avoid imitation and instead channel those influences into something vital and unique.

The structure of this track is genuinely exciting because you never quite know where it is heading next. One moment there are shades of early 90’s underground funk, the next there is a Mudhoney-esque burst of chaotic guitar before everything shifts once more.

This track perfectly sums up what makes Slow Century special. They are fearless songwriters.

The screaming outro once again gives the song real emotional credibility and intensity. This feels like the crossover track capable of turning casual listeners into obsessed fans.

Paint The Shadows turns everything up to 11.

The pace, aggression and attack explode from the speakers as the band deliver an updated version of melodic 70’s punk before launching into a poignant, soaring chorus. The sheer intensity in the way the band attack their instruments is incredible, but what really stands out is how measured the vocal remains amongst the chaos.

That balance allows Slow Century to achieve something most bands spend years chasing - sounding just as passionate and vital on record as they undoubtedly do live.

The guitar work here is sublime. The use of effects and textures at times feels genuinely Tom Morello-esque, twisting and morphing around the track in inventive ways. This is the aggressive side of Slow Century and it absolutely works. A perfect late-night driving song.

Finally, the EP closes with Old World, which begins with what sounds like the soundtrack to an early 80’s computer game before gradually building into something far bigger. In the space of barely a minute, the band somehow transport you from the early 80’s to 2026.

Slow Century never rush their songs. Everything happens entirely on their terms.

The dreamy vocal once again reminds us of the softer, atmospheric side of the band before the entire group explodes together into a soaring, swagger-filled chorus. Then, just as quickly, everything strips away again like the calm before a storm you know is moments from arriving.

The tension and release throughout this song is absolutely phenomenal and must sound incredible live.

Then comes the final section. The song dissolves into a calm yet chaotic cacophony of sound that Queen themselves would probably applaud before finally crashing back into some form of glorious normality.

An incredible ending to an incredible EP.

Goodbye Oblivion is one of those rare debut releases that feels fully formed from the very beginning. Slow Century are not simply another indie band chasing nostalgia. They are taking decades of alternative music history, dragging it through their own experiences and creating something emotionally charged, intelligent and genuinely exciting.

There is atmosphere, aggression, melody, chaos and beauty throughout every second of this EP. More importantly, there is identity - something many bands spend entire careers trying to find.

If this is only the beginning for Slow Century, then the future looks anything but slow. In fact, based on Goodbye Oblivion, this band are heading towards something timeless.