Ôîðóì » DoppelgangeR » Review on DoppelgangeR album '12 Steps To Inhumanity' by Mick Mercer » Îòâåòèòü
Review on DoppelgangeR album '12 Steps To Inhumanity' by Mick Mercer
Black CaT: DOPPELGANGER 12 STEPS TO INHUMANITY Gravitator records They seem prolific to me, as it seem no time at all since their ‘Saturnian Rings’ album, but here we are again with another fine collection. Where the last record mixed some beautiful music, with sensitive atmospheres, now they surge into energetic displays Maggoth stamps out a rigorous beat as ‘Nickel’ gets briskly underway and this pretty much sets the tone throughout. Dmitry FLO shoves the words out over his solid bass which naturally matches his vocally melodic swaying (an important point, oh intuitive reader!), and Black Cat’s guitar bides its time before embellishing all points of emphasis. Musically we’re seeing a highly active Goth attitude meeting Punk vigour, which continues in the sleek flow of ‘First Step’ that fades away unexpectedly. ‘We Are More Than Dead’ sounds more pained but has a capricious, needling quality that sweeps you along happily, into the emptier ‘Today’ with a lightly piercing guitar and roving drums. It’s an interesting song, and perhaps the loveliest here, for while there is much vocal angst it also retains a haunting feel. ‘Circle Got Closed’ gets a high retro rating for those with a penchant for the Psy Furs, neatly opening up some bloody-nosed pop. ‘He’s Our Big Shot’ is more austere, opting for some dour drama, then the rapacious ‘Someone Who Is One Of Us’ plunges onwards, nice and springy with tugging guitar, although my version clearly has different track listing problems so ignore my specific details. The last two songs could be interchanged. It’s definitely ‘It Breaks Our Souls’ which spreads out, glistening and demanding, with ‘They Don’t Recollect You’ craftily modest and yet conventionally appealing in a wriggling post-punk way. ‘Hey, Buddy’ is interesting again for its angular effort, which is a trio thing; everything coming through clear and rousing as they amble on this odd hungry crawl. ‘Mute Idol’ is darker and gritty, histrionic and couched in gloom. ‘XII Steps To Inhumanity’ develops slowly but never boils over, and yet this closing instrumental demonstrates easily why this is a such a good album for all its brevity, because their sound is recorded with such an easy vibrancy. It’s like you’re in the room with them as it moves along, stark and rough, controlled and ultimately a bit strange because you wonder when vocals will snap into play and they simply never do! It is also, and this equally unusual, an album which grows with each listen, but with such an open set of arrangements you wouldn’t expect there to be any hidden surprises. Original text
Îòâåòîâ - 0
ïîëíàÿ âåðñèÿ ñòðàíèöû