Her Empty Sockets – It’s Not Started Until The Fat Girl DancesPosted: August 15, 2011
I don’t have much to say about this. The two first songs sound a lot like the Arctic Monkeys’ first album. The third, a little bit less. The fourth is already something different. The following track is an instrumental which is actually the most interesting track until then. The final track is the best and the one that sounds less like the Arctic Monkeys – the similarity between the singers’ voices never quite goes away, but the music does make a dramatic turn. Trying to be less specific, the whole thing sounds like Post-Punk, but starting from Arctic Monkeys and going all the way back to the early 80’s.
So this album could be called something like “rapidly emerging from overwhelming influences”. The way it stands now, it’s just upside down: the album get’s better as it approaches the end. All I have to say about the first tracks is that they are bass-driven in a cool way, but uninteresting – doesn’t make me want to revisit the tracks. After 5 or so listens though, I have become a little bit fonded to them, like I could listen to bonus tracks from “Whatever people say I am, that I’m not” that I had never heard of.
So yeah, I actually feel like the real album is the two last tracks. The instrumental is an ambient messy noisy track, which later gains a bit of a beat, seemingly electronic, but which is mostly (laid-back) guitar driven. I like it specially because it comes as a surprise in the progression of the album, but also because it’s just plain cool to see that in this track this guy just lets it go and does whatever he wants, with nice sort of relaxing results. At some point it becomes more straightforward and pretty and even though it comes out of the blue, it also feels logic and natural. It feels detached fromthe album, but fitting nicely there at the same time.
The last track itself has a nice mysterious, dramatic vibe in the main riff. The guitar interplay has taken the place of the bass, even though at some points the guitar are off and you get that bass feel back. It’s the best of both worlds I guess. I can’t say this is golden, an unrecognized classic or anything, but for once it’s nice to see a dude – apparently this one guy played everything – grow by the leaps in an album, it’s the kind of thing you don’t get in a normal mainstream release because everything is tightly planned to focus on what works, maybe it get’s less human. I like this album, it’s a human being’s best effort at making music and that is interesting.