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It is the most complete realisation of the band’s vision, and their most carefully produced record to date. From a love of ‘90s hip hop (Red Queen Theory) to Eastern European soul (Grandma’s Song); from a Sufjan influence (My Sister’s Palace) to the incomparable (Signs of Life), Future Shade is underpinned by hip hop, but is not contained by any genre.
At their essence, The Herd have always explored the personal and the political: but the fury of a song like 77% has given way to the subtlety of a song like Shihaba, detailing a family member’s encounter with racist customs officials in Europe. The rage hasn’t dimmed though – it bubbles away, masked by melody, cheer and self-deprecating honesty. The same reason they’re loved by lawyers and labourers alike is on show here.
Individually, they’ve garnered multi-award nominations for their solo records; toured here and overseas while overseeing a celebrated roster of talent at Elefant Traks. As a group they’re greater than the sum of it all: their last record charted in the top 10; they’ve been nominated for ARIA and J Awards; have a half a dozen Hottest 100 songs and won a couple of AIR Awards. Above and beyond industry recognition, their observations and social statements have left a mark on Australia’s cultural landscape.
As the ever impressive Australian music scene flourishes, one thing is certain: there is no group quite like The Herd. With the release of Future Shade, the party band is back and sticking the knife in.
“The Herd are more than just a band. As a musical collective they have taken Australian hip-hop’s sound in interesting and eclectic directions. As figures in contemporary Australian culture they have spoken out against issues. As entrepreneurs their label Elefant Traks has continually supported exciting and innovative local artists as well as helping establish a system to allow these artists to get their music out to the eager fans across the country.” Music Feeds
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