HomeReal Terms

Real Terms’ delicate indie-rock sound navigates the cities of Liverpool and Washington DC, akin to the intricate and angular music of The Dismemberment Plan, Q and Not U and Hot Club De Paris.

Bonding over a love for the aforementioned artists in a beer garden in Huddersfield, and later, a Liverpool practise room, Real Terms established themselves after the disbanding of several members’ previous band Vasco Da Gama. With a proclivity for creating complex yet decidedly pop hooks, bassist John Crawford, guitarist Lynny and drummer David Kelly, spill a thousand ideas into the songs on Housework – a body of work that’s had its insides removed, turned over and reworked. as Crawford puts it “The spirit’s the same, we just don’t play quite as frantically any more.”

Housework, out January 2020 on Vested Interest Records, brings together Real Terms’ liking for tight staccato rhythms – edified through David’s inventive, and metronomic drumming style, and Crawford’s complementing basslines, helping give the songs room to breath and seek out their own identity. The secret to their sauce lies too with producers David Berger and Andrew PM Hunt, who between them fill the gaps in Real Terms noise-making abilities on Housework: “This helped take things in less conventional directions when we were trying to avoid, for example, using cymbals for emphasis, or always ‘going heavy”, Crawford explains.

Almost two-years in the making, Housework is a record that deals with the feeling of impermanence, “the difficulty of finding an identity, valuable relationships or a feeling of satisfaction in the moment”. Uncertainty, introspection and dissatisfaction are the threads running through the tracks on Real Terms’ debut — whether they relate to the veneer of social media (“Tightrope Walkers”), the breakdown of relationships (“Esperanza”), the mental health struggles Crawford friends and himself have faced (“Esperanza” and “Scared of Everyone”), or Brexit and social division (“Scared of Everyone”).


Well done, you made it.