B-Side Guys

Birmingham duo PHWOAR delivers a jolt of analog rebellion on “Reckless,” a track that transforms digital-age disillusionment into fist-pumping catharsis. The second single from their forthcoming EP “Flowers Through The Concrete” throws down a gauntlet against the scrolling thumbs of modern existence with refreshing directness.

The partnership between drummer Helena and guitarist Paul crackles with a chemistry that belies their minimal lineup. Opening with the confession “I used to think I would make something of myself / Everybody thinks they’re smarter than everyone else,” the track establishes both vulnerability and self-awareness before diving into its critique of screen-mediated living. This narrative approach—beginning with personal shortcoming rather than external accusation—gives the subsequent social commentary unexpected weight.

What distinguishes “Reckless” from standard anti-technology screeds is its acknowledgment of complicity. When they sing “I’m talking at the robots / Communing with the sun,” PHWOAR captures the peculiar cognitive dissonance of recognizing digital dependency while remaining trapped within it. The production reinforces this tension, with Adrian Hall (whose credits include Tori Amos and Depeche Mode) creating a soundscape that balances raw garage-rock immediacy with just enough polish to avoid hypocrisy.

The chorus—”I’m feeling kinda reckless / Oh babe I couldn’t care less / Cos I’m feelin’ kinda reck reck reck reck reck reckless”—transforms frustration into liberation through sheer repetitive force. The stuttering delivery of “reck reck reck” cleverly mimics digital glitching while simultaneously breaking free from perfect articulation, creating a meta-commentary on the very systems the lyrics critique.

Particularly effective is the track’s observation that digital addiction is unique precisely because “how do you get sober when it afflicts everyone?” This question transforms what could be merely personal grievance into social diagnosis, suggesting that collective problems require collective solutions. The instrumentation responds accordingly, with Helena’s driving drums and Paul’s distorted guitar creating a sonic solidarity that invites listeners to join the rebellion.

PHWOAR’s DIY sensibilities manifest not just in their two-piece arrangement but in their willingness to tackle contemporary alienation without pretense. Their self-described “Brummie banter and Northern grit” comes through in lines like “Don’t care about your follows / I kinda like your memes / But did it ever happen / If I can’t watch it on screen?”—capturing both humor and genuine concern in a single verse.

The track’s closing manifesto—”Don’t settle for anything less / Than complete messy, pure reckless”—functions as both musical release and philosophical statement. In advocating for unfiltered experience over curated presentation, PHWOAR has created something increasingly rare: a rock song with an actual point of view about how we live now.