This band seems to hail from Belgium, but sounds like the British on a rampage. They have a trendy avant-industrial/noise type of name, but they rock out like T. Rex meets Depeche Mode on "Jesus Collects." Their cover is starkly angry and ugly, but they have an elegant way of handling keyboards and drum machines, they have pointed lyrics sung in a deadpan monotonous fashion, and yet, by the end of side one, they're noodling around in a structured morass of sampled sounds that could be the soundtrack for an installment of A ...
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This band seems to hail from Belgium, but sounds like the British on a rampage. They have a trendy avant-industrial/noise type of name, but they rock out like T. Rex meets Depeche Mode on "Jesus Collects." Their cover is starkly angry and ugly, but they have an elegant way of handling keyboards and drum machines, they have pointed lyrics sung in a deadpan monotonous fashion, and yet, by the end of side one, they're noodling around in a structured morass of sampled sounds that could be the soundtrack for an installment of A Nightmare on Elm Street. A very strange band indeed, one that's hardly afraid to experiment with a variety of ideas without getting caught up in any of them for the entire album. It makes them very difficult to pigeonhole; after a while, certainly, you get tired of the identikit sounds, so the segue from the power rock of "You God Is Dead" to the filtered inverted synth-funk of "Europe" shouldn't faze listeners (along with the fact that "Jesus Collects" and "The Eagle Has Landed" are mis-listed on the sleeve and the label). "Europe" is half about Europe's changes and half about the ugly American. Here they howl the lyrics over, of all things, a CB mike. Later, you have "Forgotten," a song about age and neglect and death that makes you feel all those things. ~ Steven McDonald, Rovi
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