The first word that springs to mind when describing this album is “goth”. Not in a pejorative sense, but in terms of the way that this music’s textures evoke dark and sensual sounds. Think of the first two Cocteau Twins albums, prime Siouxsie and the Banshees, the Cranes (minus that godawful wailing)…it makes perfect sense that they’re signed to Matador, part of the family of long-established indie labels, also including 4AD and Beggars Banquet, who helped birth this sound nearly thirty years ago. Not in a revivalist sense – but rather, as a continuation.
Another word that would spring to mind when describing this album is “intense”. Artistically impressive -most definitely – but this album has taken quite a few listens to get to grips with. It may even be one of a canon of albums that would also include Nico’s Desertshore, Lou Reed’s Berlin and The Cure’s Pornography, albums that are artistically brilliant, but that you have to be in a strong state of mind to cope with. To the extent that I have wondered whether this may be an album to be appreciated and admired, rather than loved.
It certainly makes sense that ‘Marching Song’ and ‘Warpath’ have been the singles taken from this album so far; they are the tracks that are most accessible on the album, whilst retaining the spirit of Violet Cries. Album closer ‘Swans’ gives a sense of finding…if not peace, then at least, some respite.