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The One Hundred

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THE ONE HUNDRED

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Not since Slipknot burst onto the scene back in 1999 has there been a band with such diversity of sound, with the power to persuade every type of music lover to their melodic cause with a diverse range of skill and idea – now, we have The One Hundred. They rap, they sing, they scream, they use drum n’ bass effects – all to create a beautiful medley of nu-metal, hip-hip, and rock. There’s just no putting your finger on their style, nor pigeon-holing these British boys. To converse with singer Jacob Field, his thick cockney accent turning up with the tone of a question at the end of each sentence, you’d be amazed that such a varied set of vocal techniques come from this one man, not to mention surprised by the eloquence and intelligence of which he speaks. Yes, The One Hundred are proof that great things are set to erupt from the U.K. and it’s a bold and welcome change to the scene.

Anticipation for their debut album is making waves all over. A blistering marriage of heavy riffs and tongue-twisters, Chaos And Bliss is not only a contrast within the title but a reflection of the contrasts to be experienced by The One Hundred’s music. It’s all conflicting, but it works. “I think it kind of worked for us as a band, to be honest – in a sense of the music style we do, what we’re trying to achieve,” says Field. “I think if you delve a little bit, it wasn’t intentionally for this, but you could use it as a metaphor for what we are as people – there’s always elements of chaos, elements of bliss, in everyone’s life – but I think musically, it’s exactly that.

“We have elements of hip-hop and R’n’B but we’ve also got like, the metal and the rock sections. It’s an optimist title that really represents us as a band. The go to.”

On listening to Chaos And Bliss, the band’s representation of sound is undeniably clear. The pastiche is refined, as is Field’s explanation of how they came to this musical direction. “There’s certain tracks which are, literally, because of our style, diverse. They’re heavier tracks, in the metal area. Obviously, within those tracks, there’s an ambience of sound: the singing, the track title “Chaos And Bliss” is exactly that – it’s ‘chaos and bliss’ – it’s kind of structured and monitored aggression! It’s all there and we have a place for it.”

No one sounds like The One Hundred and Field readily explains that it was always their aim to cultivate this kind of sound. “It was our style when we first started the band – we sat there and said we don’t want to be a bland band. We don’t want to do the paint-by-numbers, typical metalcore sound or anything like that. For us, it’s mundane, cliché; we’d rather people have an opinion of us – whether it’s positive or negative – we want people to talk about us.

“We want to be the band that paves ways for others, but we’re by no means the fore-figures. But we want to be.” Field and company are ambitious to make a dent in the scene, it seems. “Exactly,” he agrees, “but we want to make it our own.”

So unique is their style that when they first formed and honed their technique, Field said to himself that if he were ever looking for another band, he would want to be in a band like The One Hundred – but as it was, Field, who set out to form the band back in his teen years, believes he’s unlikely to ever find this again, because it can only be what he’s made of it – there is only The One Hundred. “I’d agree with that [observation], actually,” says Field, “We were a little bit forced in the scene with our old band, we played the gigs, got the fans and an idea of how the scene works. I think if we didn’t have any experience of it, we probably wouldn’t be churning out the music we are; because we know how stagnant the scene can get and what people expect. But we’ve got fans who go to our gigs for a certain sound.

 

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“Like we went, ‘if we wanna mix and match this, we’re going to have to do it in a way that appeals to everyone.’ Like, we’ve gotta get the hardcore kids on board, but we don’t wanna be a hardcore band. We’ve gotta create a whole vibe and image that can reflect us in a positive way but also get anyone from any kind of ballpark involved.”

“We want to be commercial, that’s our aim,” Field continues. “There’s such a stigma, like, ‘you’re a metal band, you can’t be famous’. It’s like, why the fuck not? That’s our aim: we want to be commercial, we want to drop records, we want to be that band that which gets kids that were into pop music into rock music. And if we’re that gateway band, that’s what we want to achieve. I don’t know why you wouldn’t want that. I don’t get bands who are so, like, anti-famous. I don’t get it, why would you not want that?”

The direction and ideals that he seems to have for the band and their music is overwhelmingly refreshing, a breath of fresh air to speak about. As such, there are standout tracks on the new album which are hellishly catchy – “Monster” is one such song and it’s got a catchy, gripping video to match. Filmed in part on a bleak night at a nineteenth-century fort in Rochester, England, the combination of strobe lighting, blue lights, neon war paint, and a little girl battling monsters and demons Ghostbusters style frames that curve of musical diversion in such a way that you go back to the video again and again, hypnotised by its content.

“To have something different, music that’s kind of so diverse, with a music video that’s so far away from what you expected, you want to watch it again and again. The whole point of the video is that you keep going back to it, put the album on and listen to the tracks, we want people to go back and watch.

“We’ve got lots of little Easter eggs in the video too that we want people to go back and find, things that reflect other tracks; the album title is in there, little things people wouldn’t pick up the first time and when you’re watching it and rewatching it and rewatching it, you start to realise what the message was.”

Indeed, the imagery of “Monster” is great, both thematically and visually and continues in The One Hundred’s new release. The subject matter Field is singing about, rapping about, screaming about comes with a heinous draw of influences. “I don’t want to sound cliché but a lot of is experiences I’ve had,” he says. “A lot of it, a lot of it comes down to the fact that I’m a massive geek – like, I am a huge gaming geek. Like, I don’t like to leave my room, I play games like all of the time. I’m the most introvert rock star probably out there.

“You know, that’s just me. A lot of the tracks are like that, things on my brain. I just write down my issues and rewrite them and that’s always been me.”

Written by Anna Rose

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