This may well seem completely unrelated, but I had an e-mail through recently for a band dubbed by their PR folk as “Brit-School Rockers,” which had me doing a double take. Then it occurred to me that what they meant was not a mistype; no, these lads’ background resided in powdering their nostrils and chortling over bank-of-daddy tales with the Lily Allen’s and Kate Nash’s of the music world. Chances are you can already see vaguely where this review is heading, and it ain’t into strictly metal territory (you have been warned!) I wracked my brain over this one trying to decide whether or not this ought to be rejected for our fine publication; having already put a maniacal grin on my face it suddenly hit home that this isn’t going to every readers’ cuppa Darjeeling…but then again, what is?
More RADA that BRIT, this just has that vibe of a bunch of fame-school rejects extracting their revenge on their pushy mothers who are simply horrified to see their sweet little angels grow into wild, promiscuous whores overnight. You can imagine lead vocalist Mishkin rocking the leading role in the school production of Cabaret, before getting kicked out and forming a band where she can put her theatrical mien to more creative ends. On tracks like ‘I Always Hang Myself With The Same Rope’ she really pulls off that bratty-girl scorned demeanour as the track gets in more of a strop than you’d see in Kevin & Perry.
It’s all very theatrical and over the top; simply put, these twelve tracks make up a delightfully dark stage show, lubricious in manner and acerbic in tongue. ‘China Doll’ is gothic and sensual, while on the chorus there is an air of fragility that comes off as breakable as china. Lyrical themes are rarely delivered with more raunch than in the kinky and twisted romp of ‘Miserable’ which plays like a warped theme to a fetishistic burlesque house. ‘Shiver Up The Spine’ comes waltzing in with its haunting violins, while Mishkin’s delivery is every bit as fiery as her flame coloured hair. Vocals range from impassioned cries to hushed whispers, reminding of Regina Spektor, while she gives the impression of a weathered woman who has given up on men.
There is such a seamless flow that links together the tracks that it really is hard to tell where some of the tracks are coming to an end. With its brisk violins and rumpapump drum beats, ‘Jim’ marches through a couple of tempo changes, slowing into a soaring chorus with a quirky Shirley Manson afflicted delivery, before a ferocious yell brings the track to an unexpected end allowing it to tumble down into the wondrous a-capella chorals of ‘Here She Comes-a-Tumbling,’ which subsequently opens into the fierce and angst-ridden ‘Hymn’ with its lullaby-esque calm.
If you enjoy quirky sounds with something a little unusual on offer then you’ll love this! It’s as raunchy as a 1920’s brothel, as bitter as a woman scorned and as damned well danceable as it gets! Just make sure you remove any breakables before it has you doing the can-can!
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