B-Side Guys

Some revivals merely imitate past sounds; others excavate forgotten emotional territories. Brighton quartet CARNE belongs firmly in the latter category with their debut single “J.U.M” (Junked Up Murder)—using 90s grunge textures not as nostalgic costume but as perfect vehicle for exploring contemporary disconnection.

Recorded at Brighton Electric Studios and bearing production pedigree from Jag Jago (The Maccabees, Jamie T) and mastering engineer Kurt Martinez (Soft Play, Pixies), the track immediately establishes sonic credibility. Guitar tones conjure the era when MTV still played music videos—thick, distorted yet articulate, occupying that sweet spot between melody and menace. This instrumental approach creates ideal foundation for vocalist Carmen Mellino’s raw delivery, which navigates between controlled intensity and cathartic release with impressive emotional range.

What saves “J.U.M” from mere pastiche is its thematic relevance to current social dynamics. When the band explains the song addresses “not finding the right people for you in a certain environment” and “giving your true self to the wrong people,” they identify psychological territory that transcends era-specific concerns. The comparison to “feeling lost in a big city, you’re ephemeral in an unshakeable place” feels particularly resonant in our hyper-connected yet increasingly isolated cultural moment.

The lyrical approach deserves particular attention for its imagistic density. Opening lines “Life sucker/Mouth liquor/Jesus is laid on the ground” establish immediate provocative surrealism that recalls PJ Harvey’s poetic menace (fitting, as their music video draws inspiration from Harvey’s “Good Fortune”). This approach transforms urban alienation from abstract concept into visceral experience through concrete, unsettling imagery.

Most effective is how the chorus—built around the repeated phrase “Junked up murder”—functions simultaneously as catchy hook and thematic reinforcement. The phrase itself suggests both addiction and violence, perhaps metaphorical destruction through misplaced emotional investment. When coupled with observations like “I’m layered in thick plastic,” the song creates portrait of self-protective numbness arising from repeated disconnection.

The rhythm section of Emia Demir (bass) and Joe McTaggart (drums) provides crucial foundation, creating dynamic variations that enhance the song’s emotional progression. Their playing demonstrates impressive balance between technical capability and raw intensity—hallmarks of the 90s alternative scene that inspired them.

As inaugural release through label The Silent Cult, “J.U.M” positions CARNE as worthwhile torchbearers for grunge’s emotional authenticity while avoiding mere regurgitation of established formulas. Their ability to channel influences like The Smashing Pumpkins’ “Adore” and PJ Harvey’s “Is This Desire?” while creating something that speaks to contemporary alienation suggests band with potential to transcend mere revival status.