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Skeleteen - ‘Sorry For Everything’
Sounding along the lines of Sonic Youth or a darker sibling of The Breeders, Skeleteen are an abrasive assault of melodic gloom. A two-piece noise outfit that deliver a no-holds-barred sonic blast of rock and roll stripped to its punk-beaten bones. Heavy driven drumbeats and menacing guitars underpin sinisterly coaxing vocals that are the construction of eerie songs with genius and sharp lyricism.
Debut album ‘Sorry For Everything’ opens with ‘your own entry’, and the charging kick of this band is immediately underway at a feverish pace. The two-piece storm through temperamental verses that seep into Kyle’s throaty screams in a heavy barrage of funky guitar rhythms that ripens to bludgeoning proportions. ‘White Lies’ is fuelled with sonic venom that rides your spine to Kyle’s vocal backdrop as the lines to the song are drawn out like strings of bile. After a brief drumming intro, it jumps straight into it’s ripping verses, chaotic and pounding, guitars screech and Cheryl’s savage drumming hammers at your skull “you're pushing, I'm screaming, we’re fighting a lot”, the music is practically choking you, in all it’s asphyxiating and consuming glory. You’ll find yourself resigning to the lack of control over your feet, head and mouth in no time.
’Final Hurray’ sleeks in with drowning vocals and a dark yet uplifting tune to love you and leave you in 120 seconds before ‘Lovestruck’ takes over and proves to be one of my favourites on the record. It’s equally as heavy as the rest but bursts with an obtruding energy that sounds part Pixies, part Placebo part My Bloody Valentine and assuredly a song that would stricken the hearts of fans of all things bleak and beautiful.
Their first official demo track ’Drive On’ is the perfect example of what Skeleteen is all about, the music is composed in fragments of knotted noise, the bare essentials of punk rock are mastered and effortlessly pieced together like a jagged puzzle. Starting off with the perilous intro, the socketed vocals follow before the pounding drums and chainsaw guitars that then yield to distortion and menace that doubles back until building into screams in staccato fashion.
However Skeleteen are far from formulaic or repetitive, but then neither do they set out to offer radio-friendly melody and sing-along verses.
’Sleep When I’m Dead’ dies down in pace whilst still remaining forceful under a male/female vocal duo. ‘Not This Time’ begins anxiously with an introduction that sounds like a seedy Tarantino-inspired underground movie meets the living dead. With a searing riff that ruptures the soundscape and leads into a driving drum beat and low-sunken vocals. This is a lot like watching Kevin Shields have a nightmarish fit of tourettes for five minutes and loving it...
On final two tracks ‘Gone’ and ‘Thank You, Goodbye’ Skeleteen exit as loud as they entered and began thundering through nine tracks.
Skeleteen's 'Sorry For Everything' is definitely one hell of an apology and won't be leaving my stereo for quite sometime. All I need now is to kidnap the brains behind the skull, Kyle, lock him in my closet with a guitar and I'll be even happier.
Sounding along the lines of Sonic Youth or a darker sibling of The Breeders, Skeleteen are an abrasive assault of melodic gloom. A two-piece noise outfit that deliver a no-holds-barred sonic blast of rock and roll stripped to its punk-beaten bones. Heavy driven drumbeats and menacing guitars underpin sinisterly coaxing vocals that are the construction of eerie songs with genius and sharp lyricism.
Debut album ‘Sorry For Everything’ opens with ‘your own entry’, and the charging kick of this band is immediately underway at a feverish pace. The two-piece storm through temperamental verses that seep into Kyle’s throaty screams in a heavy barrage of funky guitar rhythms that ripens to bludgeoning proportions. ‘White Lies’ is fuelled with sonic venom that rides your spine to Kyle’s vocal backdrop as the lines to the song are drawn out like strings of bile. After a brief drumming intro, it jumps straight into it’s ripping verses, chaotic and pounding, guitars screech and Cheryl’s savage drumming hammers at your skull “you're pushing, I'm screaming, we’re fighting a lot”, the music is practically choking you, in all it’s asphyxiating and consuming glory. You’ll find yourself resigning to the lack of control over your feet, head and mouth in no time.
’Final Hurray’ sleeks in with drowning vocals and a dark yet uplifting tune to love you and leave you in 120 seconds before ‘Lovestruck’ takes over and proves to be one of my favourites on the record. It’s equally as heavy as the rest but bursts with an obtruding energy that sounds part Pixies, part Placebo part My Bloody Valentine and assuredly a song that would stricken the hearts of fans of all things bleak and beautiful.
Their first official demo track ’Drive On’ is the perfect example of what Skeleteen is all about, the music is composed in fragments of knotted noise, the bare essentials of punk rock are mastered and effortlessly pieced together like a jagged puzzle. Starting off with the perilous intro, the socketed vocals follow before the pounding drums and chainsaw guitars that then yield to distortion and menace that doubles back until building into screams in staccato fashion.
However Skeleteen are far from formulaic or repetitive, but then neither do they set out to offer radio-friendly melody and sing-along verses.
’Sleep When I’m Dead’ dies down in pace whilst still remaining forceful under a male/female vocal duo. ‘Not This Time’ begins anxiously with an introduction that sounds like a seedy Tarantino-inspired underground movie meets the living dead. With a searing riff that ruptures the soundscape and leads into a driving drum beat and low-sunken vocals. This is a lot like watching Kevin Shields have a nightmarish fit of tourettes for five minutes and loving it...
On final two tracks ‘Gone’ and ‘Thank You, Goodbye’ Skeleteen exit as loud as they entered and began thundering through nine tracks.
Skeleteen's 'Sorry For Everything' is definitely one hell of an apology and won't be leaving my stereo for quite sometime. All I need now is to kidnap the brains behind the skull, Kyle, lock him in my closet with a guitar and I'll be even happier.