Latch was formed by Seven misguided minds in the summer of 1998.
Influenced by various styles of music, the band fused these together to create their own unique sound, with songs ranging from melodious and harmonic to brutal and gut-wrenching. They combined smooth rap-flows and anger-infected rants with soulful, full-voiced choruses and uncompromising lyrics.
Latch produced their fist recording in 1999, laying eight early demo songs in two days, Four of the resulting went on to be come their contribution on their 2000 split album debut release with Stoopi Latch Meets Stoopi: A Game of Two Halves (KKKK Kerrang & 8/10 Metal Hammer) which was released via ORG records.
During the following three years Latch played numerous shows with established bands (including Lost Prophets, Raging Speedhorn & Hundred Reasons) they also wrote & recorded more material. They were due to release their follow-up EP as a four-track single in 2002 however the band split.
Seven years on and a some of the founding members have re-surfaced to rehearse and re-establish the group. With no intentions to release at present, they have decided to post previously unreleased material, along with tracks featured on their debut release, onto this page.
Don't "Close the door and put the fucking Latch on" just yet!
Of the original band members Joseph Faulkner is presently performing with his band in The Joseph Faulkner Musical and Johnboy Faulkner presently plays bass in Fuckshovel.
PRESS QUOTES:
KERRANG MAGAZINE LIVE REVIEW (2001): "Marching onto the stage with their hoods up and their baseball caps worn low on their foreheads with a promise to 'f**king f**k shit up', newcomers Latch are the surprise of the evening. Numbering seven, they exude the exact same gang-like intensity as Slipknot, yet their musical territory is a richer, more diverse one. Like a truth-seeking SWAT team descending on a legion of liars, they mix the rap/rock of early Rage, Consolidated and Molotov, but fuse it all with jaw-droppingly blunt Sepultura-style rhythms, jazz insertions, the energy on Sona Fariq and the sheer cheek of Raging Speedhorn. The result is the sound of urban hate being shoved through the musical mincer, and it's one that you wouldn't dare to question" Ben Myers, Kerrang
