30: OCT : 06
ANGELSPIT -
KRANKHAUS (Angelspit)
It's an interesting review here in the sense I'm both behind the
times and ahead of the game. This review really should have been
in the last issue, but it's still getting printed before the album's
official release in Europe and the US (Jan 2007)
The album was released in Australia on 06/06/06 but does avoid getting
into any over-the-top cliché. Thankfully every song here
isn't about the rise of the Antichrist or the Number of the Beast.
Or is it?
There is a loose concept throughout the album around
vanity and extreme cosmetic surgery. At one point I thought they'd
been watching the new series of Doctor Who a little closely and
were writing all about their love of Cybermen - but that wouldn't
be possible due to time constraints - unless they were the fastest
songwriters ever… or had access to a TARDIS themselves.
In saying that, given the equipment they use to
create their sounds, I wouldn't be surprised if striking the wrong
power chord could send them back in time…
I've said before Angelspit sit somewhere between the new-found industrial-punk
scene and the Digital Hardcore scene. I did at times sometimes find
that the whole Digital Hardcore scene got a little noise-for-noise
sake at times, so this is nice to be able to have some of the attitude
and ideals yet still remain somewhat accessible.
The album opens with 'A La Mode, A La Mort' which
drags you in, ties you up, then skips around you pointing and taunting.
"Vanity is all right, it's really alright…" taunts
female vocalist (and co-songwriter) Destroyx, "…Miss
Universe, miss the point completely…"
Again, I really like the use of twin vocalists, as Zoog also contributes
greatly on a vocal scale.
This is one of those tracks that really warm you up. I had great
anticipation for this album, but I appreciate many readers/listeners
will not have previously heard the band, so I'll backtrack.
Like many Australian electronic bands, they're interesting. They're
not afraid of identity or rely on the cushions of sounding like
every other goddamned band just so people will like them.
They take their electronics and splice it up with punk guitars and
attitude, but are probably unaware of the rising UK 'industrial-punk'
movement so are thus avoiding the risk of being indirectly influenced
by any of the bands over here.
Of course, having identity, soul and purpose would be fruitless
if they weren't competent in what they're doing. Previous offering
'Nurse Grenade' grabbed by interest and now full-debut offering
'Krankhaus' is the challenge to keep me and the listeners interested
- or for the new fans, get them interested.
So, 'A La Mode, A La Mort' warms the blood nicely. 'Vena Cava' turns
up the gas and sets it on to boil!
The intro beat packs a drum n bass influence which takes you in
before the track stomps in and drills into your skull in a military
fashion.
Now, where 'A La Mode…' had you strapped to the chair, 'Vena
Cava' has you meet the Doctor (who is insane) and 'Elixer' is beginning
of the surgery.
"We'll make you better than God did before!"
Are you scared yet?
'100%' takes the foot off the gas a little, but shows they are more
than a one trick pony. It's got a far more dancefloor-friendly groove
to it and the main focal point in this track is the vocals and verses.
Still, you probably needed this - any more tracks like the first
three and your heart might explode!
Now, I'm not too struck on 'Juicy', but perhaps it just sits in
the shadows of its predecessors a bit much.
'Make You Sin' picks the form back up nicely, although it does flow
along from there. The tracks pack the required punch to keep the
album interesting, but only a few select moments escalate.
'Create Desire' is one such escalation, a high paced bounce-a-long
complete with Ramoanes-esque 'dollar-dollar-hey-hey''s
The album also ends on a peak in the form of the anthemic 'Wreak
Havoc' - a song which is going to have me asking them some questions
on religion when I interview
them…
This track is almost anthemic and lyrically reminded me of 'the
devils' speech in Doctor Who (although can't be plagiarised by either
party, due to the fact this album was released at pretty much the
same time that episode was!) it is a real gem and gives a nod towards
various Digital Hardcore influences ("Wreak Havoc/it right
now/ right now/ riot now") and concludes the album on a strong
high point.
So - for a full length debut this hits all of the right spots. It's
enough to stir up a lot of interest (this is an import - but you'll
soon be able to buy it on Dancing Ferret Discs!) and is a brutal
but accessible ride.
(8)
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