On both “Fup” and “Little N Pretty,” Carson’s vocals carry most of the melodic weight, with the instrumentation digging into a heavier density to this jagged, post-punk feel. The guitar playing sticks to the basics required for this style of punk, with no hints of his often shoegazey other band lingering around. The first song where they wander out into left field for experimentation is “Lost Bodies.” Pulling from the drug-encrusted hours of the early morning, the effected vocals on this song would not be out of place on an industrial album from the 80s. “We’ve A Got Number” feels very honest, with a rambunctious attitude exploding from it. Dynamically, these songs generally have a lot to offer. The thump of overdriven bass drags the brooding “JFK” out into the daylight. Its droning lumber thuds into your ears like early Swans. There is a downtrodden lethargy to the mumbling narrative Carson gives on this one.
One of this album’s strengths is displayed on the final song, “Patto Con Dio,” as it hits hard without relying on aggression. There is still enough room in this song for Cox’s vocal to move its melodies around. On the final two minutes of this one, they let boil on noise. Cemetery’s last album might have been the last punk album dark enough to win me over, so it’s good to hear something this fresh from an old familiar voice. Cox sounds great here vocally, and I love hearing him do his thing with different backdrop. Hopefully, making this album gave him something to take back with him when he goes into the studio with Merchandise. If you have ever wished that back would give you something with more kick to it, then this album has your name all over it…
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