After nearly five years without a full-length, Six Feet Tall return with Daily Whistle—a record shaped less by the world’s chaos and more by a desire to move beyond it.
Out March 21, 2025, on Mothership Records, it’s their first release since the pandemic, whe they dropped their sophomore album. Rather than channeling that period’s weight directly, the Perugia-based quartet decided to toss out everything they wrote during it. Daily Whistle comes from the blank page that followed.
The band—Diego Coletti, Federico Mazzoli, Andrea Gentili, and Michele Perla—kept things immediate. Written and recorded with minimal second-guessing, the album strips back overproduction in favor of impact. Vocal lines cut through thick guitar and bass textures, delivering both abrasion and melody in equal measure. As the band puts it, “like hearing someone whistle a tune while working in a functioning sawmill”—a phrase borrowed from Michael Azerrad and fitting for the album’s tone.
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“Limits,” the lead single, diverges slightly from their usual pace. Built around a 3/4 pattern and featuring guest vocals from Vespertina (Lucrezia), it’s slower, more immersive, and intentionally atmospheric.
“The chorus was good,” the band said, “but during recording it wasn’t quite clicking, so we added vocals from Lucrezia, who effortlessly made it shine.” It closes the album with a sense of emotional openness not usually associated with sludge-informed noise rock. “We’re all alone, but that’s exactly what brings us closer.”
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The lyrics and titles across the album often lean into dissonance and absurdity, matching the sound’s physicality with themes that oscillate between personal reflection and tongue-in-cheek social commentary. “I wanted to write something politically clever,” one band member says of Here Comes Evil Foucault, “but every time I watch that [Chomsky vs. Foucault] video, I get distracted—because Foucault looks like a Bond villain. So I leaned more into that funny aspect of it.”
What anchors the record is its intentional refusal to resolve easily. Sad Crown Sad Town began as a “solid, dramatically joyful” track, only to dissolve and rebuild itself in a changed form. Why Walk When You Can Be a Victim pushes through riff collisions and confusion until a moment of clarity is imposed by a break dubbed “Carpenter.” Even That’s How Impermanence Works, described as “bouncy,” lands off-key in ways that are only right in hindsight.
Daily Whistle doesn’t present a unified message or overarching concept—it’s more of a composite, a real-time documentation of a band regaining direction through instinct. Tracks like I Saw You bring an almost traditional sense of structure, with not one but three choruses. “Extraordinary events give birth to ordinary songs,” they say. “It always works live because it’s the fastest track on the record.”
The album’s production, handled by Federico Mazzoli at Seven Doors Hotel Studio, keeps things raw but coherent. Artwork by Alessio Marchetti of Rope complements the music’s minimal but intense aesthetic. Despite guest contributions and evolved songwriting, the lineup remains unchanged since 2019: the same four people, still leaning into tension and texture.
Read the full track-by-track commentary below to get inside the intent and process behind each song.
1) Not to Touch the Herd
The first song we wrote for the album, the opener, and first on the setlist. It’s here because it’s the simplest (or maybe I should say “most straightforward”) track on the album, and it felt right to start with something more accessible. Obsessive riff, chaotic opening, repeat. It feels like work, but you can stop whenever you want.
2) Why Walk When You Can Be a Victim
Three riffs chasing each other, colliding, failing to understand one another. The Carpenter shows up and brings order. We wanted to play the final riff with a synth, but we kept it humble.
3) Sad Crown Sad Town
We had a solid, dramatically joyful song in our hands when it slipped right through our fingers. We thought it might be interesting to see where it would go in that reduced state. It eventually returned to its original form—like liquids sometimes do—but it had changed.
4) That’s How Impermanence Works
This bouncy track actually reveals the breath of life, the cough of loss, all within an infinite space-time. It’s interesting how the vocals always seem to land on the wrong notes—which, oddly enough, are the only right ones.
5) Here Comes Evil Foucault
There’s a well-known YouTube video of a young Chomsky debating Michel Foucault. I wanted to write something politically clever, but every time I watch that video, I get distracted—because Foucault looks like a Bond villain. So I leaned more into that funny aspect of it.
6) I Saw You
Extraordinary events give birth to ordinary songs. And this one has three choruses—a rare thing around here. It always works live because it’s the fastest track on the record. Which is then followed by the slowest: the final song.
7) Limits
The only truly enveloping piece in the tracklist. It’s counted in one-two-three, one-two-three. The chorus was good, but during recording it wasn’t quite clicking, so we added vocals from Lucrezia (aka Vespertina), who effortlessly made it shine.
We’re all alone, but that’s exactly what brings us closer.
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