Genre : Alternative Rock with a Darkpop tendency
Label : STUNVOLUME
Origin : United States
Rating : 8.5 / 10
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I never knew the music of Garbage, yet "I knew it" instinctively, the same way I knew Type O Negative, despite never hearing the music of Peter Steele prior 2010. It was enough to see the face of Peter Steele to "know" his music, and it was enough to see the face of Shirley Manson to "know" her music. Finally, when I did hear Type O Negative, it was the legitimate feeling of the music I was HOPING to hear from Mr. Steele, and hearing his stuff is super-rewarding to this day.
Now was the time to me to check out if my preconception of the music of Garbage was legitimate or not, and it sounds/seems to be pretty close, once again. Opening track "Automatic Systematic Habit" rains down on me as I expect to feel when a woman in her prime is incoming with a rant you have no chance whatsoever to interrupt. And you don't even want to, anyway. The song strikes a tasteful, lush balance between Abba, Kidney Thieves, and openly nods both to muscular-, steroid-based super-bloated dance production standards and gentle synthpop affectations. You are given very little-, if any chance to reject it on bases worth taking serious. Read on to find out more about this disc.
"Big Bright World" registers as a combination of an '80s synthpop song and Green Day, with a pretty interesting chorus and verse structure. Here is why I think they are interesting : at first listen, you probably will dismiss the chorus anatomy as painfully nonrelevant, but, on the second listen, the intention clicks in much more efficiently. At least it did for me. Not to be the production Nazi - all that much - herein, but I tend to feel that the mid range in this song intimidates everything else at the climax. No pun intended. Women don't grow older than 30, anyway.
"Blood for Poppies" sounds like an Ace Of Base song via its verse. Pretty frightening start for the track, and I tend to think that this by far is the weakest contribution on the entire album. The song features a tint of Cranberries -eih!, eih! givingeh! birthe! - "toppled" by a radio friendly chorus that has a pretty limited set of charms to entertain your ears. Tolerable, but currently I can't imagine a shape in myself to form a desire of to revisit this track. You have heard this harmonic structure 1.000.000 times before, too. Pretty meh. What is up with the "wo-ooo-o-o" part. Seriously?
"Control" finally takes you a tad more serious, going for an efficient Kidney Thieves temper, and, finally a tremendous chorus graces your awareness with clever harmonies throughout an overall industrial-kinetic-yet-strangely-still-soft sonic sightseeing. The song is a quite elegant and successful spiritual blend of Kidney Thieves and Depeche Mode, with a nice take on morose sentiments and lush, sexily bloated production values.
Titular delivery, "Not Your Kind Of People" is a pretty cunningly constructed "Brechtian" song, that which definitely comes to you on an Abba premiere-register. Strong, beautifully simplistic verse structure sets the rules of the warfare, wielding smart instrument choices and healthy, restrained melodies. The middle section features a lush, female mini-choir that sounds quite sexual and elegant, occupying pretty much every dominant position in the mix. The song maintains a slow tempo character throughout, but it works pretty well in this form, and I'm sure that this song has all the chance in the whole wide world - and then some more - to emerge as a standard tenderness-under-influence backdrop piece.
"Felt" is another highlight delivery to me : another explicitly voluptuous song, in my opinion, and seemingly deliberately so. The reverb is huge, making everything wet and red as trying to eat a strawberry with an incoming woman on its other side, - or, a latex mandoll if you are a queen with a dick - but smartly refraining from imposing a hurtful intimidation factor on the overall mix. The song itself is a spaced-out 4/4 love making session-loop with no stops on the route implemented.
"I Hate Love" is a splendid title for a track without a doubt, - it's funny that no one have thought of verbalizing the implied emotional state yet, though so many must have felt that way before already - and, luckily, the song lives up to the brilliant title, too. Once again, a Depeche Mode vibe is evident/eminent, this time working at steady efficiency, minus some attention seeker tendencies being delivered by the fronter chick. Like,when she declares what love is like in a sinister-wannabe blues-platitude fashion, but she is far away from the dark-, borderline convince power of Free Dominguez, for example. (Kidney Thieves never would be big of a fool enough to offer metaphors on such a silly agenda as to express what love is like.) Other than that, I dare say that Martin Gore would be proud of this song. This, at heart, is a pure Depeche Mode song, to be honest, top to bottom. Why is this important? Well, you know the Depeche Mode deal, don't you? It is the same as with Meshuggah. If you don't like Depeche Mode and/or if you don't like Meshuggah, you suck. Sorry. Deal with it.
"Sugar" exploits yet another standard chord progression you have heard a million times before, and the lead singer chick delivers - watch out, "sensual" is coming to you "sensually" sensual - sensual, sometimes even clever lines in sensual-, sometimes even serious voice to get you into a sensual-, sometimes even a seriously sensual mood. The only way to make it even sexier and more sensual than it already is, is to say : "Sorry, babe. Not today. Go away. Don't come back." to her. Not a bad track, minus the overused chord progression, which sometimes is a bad-, and sometimes is a baaaaaaaaaaaaaaaaaaaaaaaaaaaaaad idea.
"Battle in me" is a song that emerges to slam you into the nearest wall along AND with gargantuan pink sounds, and it works superbly. A Kidney Thieves connotation yet again comes to mind, - very reminiscent at heart to Kidney Thieves' track "Crazy" - and, though I'm not too happy with the - in my opinion - schizophrenic chorus as it sounds to interrupt the dainty-yet-robust flow of the music for a second or two, the song ultimately emerges as a definite pseudo-highlight of the spin, despite how I think Shirley Manson exhibits cheap attention seeking tendencies in this track. But that's what she is all about in the whole piece, so no problem. It simply is the - in my opinion - fact that she lacks the natural-dangerous borderline darkness of Free Dominguez, and she feels funny and artificial when she struggles against this deficit.
"Man On A Wire" is a piece of sharply sculpted focus reeking dynamic efficiency. A psychedelic-, scattered verse structure invites in a hilarious chorus that reminds me of the chorus of my song Apocalypse Factory. Yet another definite highlight in the fabric, and it seems safe to say that this song AND the previous one mark the most aggressive section of the disc.
"Beloved Freak" is a pretty beautiful track with clear, adorable and openly smarmy intents, and it is very easy and pleasant to put a pause on your balls and submit to the track. The piece sounds like it features all the instruments in the whole wide world, and it is relentless at putting tears in your eyes, and, once the case is this, you have no other chance than to submit indeed. Just disregard the corny lines "world is at your feet", WTF!?, I don't necessarily want "FEET", I want WHATEVER body I want, what do you think I am? Wait, don't answer that.
"The One" is a quite sexy darkpop song, that, I think, Peter Steele approves of. Indeed, he did not object. Another quite muscular and exquisite track with crystal clear anatomy, dressed in healthy silhouettes, flattering myriad shapes of interest with thrilling sonic eloquence. This definitely is dark music, but very AND definitely sexual at the same time. Music that does not have sex in it is hopeless, anyway.
"What Girls Are Made Of" is a steady track that I have nothing against at all, and I also am not a girl, only a galactic fanboy of said niche. The song has an anxious backbone that bursts into a raging abrupt rant at the climax, - no pun intended - and it sounds to work pretty fluently.
"Bright Tonight" is another tame song, and it similarly is produced masterfully. Everything reigns in its place super-precisely, and the sounds envelop you into all kinds and tempers of ultra-mellow sonic pleasantries. Words are not suitable to convey the experience, and that is the benchmark of the music worth subjecting yourself to. < - Hint!, Hint!
There is yet another track left on the disc that which I refrain from offering an opinion on, because I am free to. The disc, as an overall experience, is an utterly pleasant and relevant one for me that offers a whole lot of high definition content to soak a pair of even highly snob ears into. This is uncompromisingly feminine and heavily sexual music in my opinion, and it guarantees a legitimate and serious listening experience. Everything the disc does is crystal clear and straightforward, yet, it does so many things that the package has the legitimate capacity to weigh in as a superheavyweight pop-rock delivery of dark, lush, tenderly raging and ragingly tender tendencies. Recommended.
Rating : 8.5 / 10
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