[update: IT’S VISCERAL!]
yes, i only just bought this. outside the comfort zone. i had to write about the physiology of it; the effect. the immediacy in the moment.
there are so many sounds that are familiar here, mostly in his voice: jarvis cocker, kim salmon, tom waits, nick cave, dave gahan, eric bachmann, david mccomb that sometimes even verges on death metal. and like liars, there’s a marginal amount of inxs here too. in spite of all these sparked memories, he has a singular presence and capacity.
i listened to this on my drive home from work, not knowing even remotely what to expect. usually i’m preoccupied with the idiots on the road. tonight, i was in an alternative universe. i didn’t want the drive to end. this music invoked remarkable emotions and responses, and a full spectrum. i was stunned.
not far in, scraps is a phenomenally excellent song, ending with the implication that he crashes his nissan with his bird still trapped in it. and right at the end of the last track, there’s quietish balladeering in which he sings literally and frankly about another guy masturbating with his own woman, wherein he is betrayed.
there are odd little (and big) moments when, beyond some of the jarring of the music itself, his voice and what is sung smacks your brain, like those above. sometimes his voice is exceedingly overwrought – there’s a bizarre grandiosity. one cringes, but can’t maintain that discomfort for long.
the music itself seems to blend between industrial-near-electronica and straight out slow rock, supposed post rock, not far off dirty three.
in some ways, this is almost like music of my dreams. there’s a rough edge, some melodrama, some blatant honesty and explicitness, a heap of reality and a form of idealism; all with a clear australian accent and a sense that you know the place but can’t put your finger on it.
maybe i was just yearning for a deep male voice again… missing it and knowing it. and here it is in all its potential glory fulfilled.