An album that stuffed a moon metaphor into every single song, and won my approval with it’s latter tracks. This time around we had a female fronting a soft post-punk band that definitely has a formula and doesn’t want to deviate from it.
Starting pretty convincing with a Rocky Horror Picture Show meets Black Sabbath vibe of vampires, blood and zombies. I was mentally thrust straight into a theatre production and was pretty adamant that if it continued like this then I would be fairly satisfied with the rest, I thrive on albums with a narrative.
To no avail though, after the opening song, we stooped to some pretty miserable lows. Headlining the drone was a track called ‘The Sky is a Poisonous Garden’, and with a name like that it was always going to be. Followed closely by ‘Caroline’, man, listen to this song and count the number of times ‘Caroline’ is repeated, that’s some annoying shit.
Guitar solos were definitely trending at the time this album was produced, and they weaseled their way into every single orifice, with no distinct relation to any of the verses.
Every single fucking chorus is a repetition of at most 3 words. Now in some instances this worked and in others it felt insistent and whiny, and from what I can tell the ability to nail those three words, pretty much made or broke the song. If the alliteration worked, then the whole thing did.
Billy Corgan could’ve taken on every single one of these and turned it in to a Pumpkins hit, the whiny vocals are prominent, and there is no more whiny than Corgans (no hate, he’s one of my all time favourites).
Man, halfway through this I wasn’t looking forward to the last half, but fortunately we took an unexpected turn for the better. Starting with ‘Days and Days’ the album soon finds its feet and starts pumping out a number of catchy tunes, albeit still raining its 3 word choruses and unavoidable corny guitar solos.
The track ‘Joey’ was particularly touching, and when the singer softly hums the line “Joey, honey” it doesn’t sound like a piece thrown in to link one verse to another, but like a heartfelt and true call out; a country rendition of this wouldn’t feel out of place.
Another easy to understand song, ‘Tomorrow, Wendy’, lyrically made absolutely no sense, but was still strangely likeable. I’m not sure if it was a drastic nihilistic leap about Wendy’s morbidly impending doom, which was recurringly summed up by the chorus “Tomorrow Wendy is going to die”. However the staggering guitar and soft vocals made this a very nice tune.
In summary, I had a variety of feelings throughout this piece. Now this definitely won’t be added to my Spotify playlist any time soon, but if my Mum were to throw this on while I’m in the passenger seat, I wouldn’t complain too hard.
Special mention to the track ‘Lullabye’ for the admirable punnage.