Gothic Music: Dead and Thriving
When Switchblade Symphony's debut album, Serpentine
Gallery, was released in 1995, it caught the Gothic world
completely off guard. Most folks thought the gloom and doom
genre had gone the way of Andrew Eldritch's integrity (once
Sisters of Mercy appeared on MTV, it was over). And then
something happened: Two ladies from San Francisco recorded an
album of dark airs and fairy tales gone gory. Suddenly the dead
were on their feet again.
Aside from reviving the Goth scene in the San Francisco area,
Switchblade
Symphony--along with acts such as Marilyn Manson and
Rasputina--has helped
bring the genre into public favor. The band just released its much-
anticipated follow-up, Bread and Jam for Frances. Although
the record introduces several new sounds and atmospheres,
overall it reinforces the band's dedication to dark theatrics and
sinister play.
Vocalist Tina Root, keyboardist Susan Wallace, guitarist George
Earth (who
replaces Robin Jacobs), and percussionist Eric Gebow come
together to
formulate an elegantly spooky series of fables. The album opens
with the
taunting "Witches," framed by Root's sinister vocal: "Witches they
ride on
broomsticks ya know/Angels use wings to catch the wind
blow...Skeletons
writhe, they glow in the night/Goblins and tramps do their wicked
dance."
Alone, the lyrics might seem adolescent, but paired with Wallace's
synth
tricks and Earth's almost-Spanish guitar, the song is downright
fun--like
masquerading on a crisp October evening.
Switchblade Symphony indulges in better production work this
time around, and
the result is a more complex album than Serpentine
Gallery. Root's voice is layered dramatically in several places,
such as in the choruses of "Dirty
Dog" and "Soldiers," as well as in segments of "Funnel." Likewise,
Wallace's
musical structures wander easily through fields of dance,
industrial, art
rock, and cabaret--places where other artists might trip land mines.
And in a
crowning touch, the group brings a unique element to the Gothic
theme:
scratching.
The combinations don't always work, but when they do, it's easy to
understand
why Switchblade Symphony has been called the most popular
Goth band in
America. Melancholy musings--say, those in "Roller Coaster" and
"Sleep"--are as gorgeous as anything penned by Dead Can
Dance or Siouxsie and the Banshees. Root's voice is remarkably
versatile; one minute she's cackling like an old hag, the next she's
belting notes like a torch goddess. Her operatic episodes are both
gravely theatrical and deliciously campy.
"Sleep" opens with a light harpsichord melody and Root's wistful
lyric: "I
don't feel good/I don't look good/I don't sound/I wish I was right/I
watch
you sleep away the time." It's a traditional Goth melody, comforting
in its
listlessness. Not to be outdone, "Funnel" follows on its heels with a
heavy
industrial rhythm fit for head-banging.
Although some of Switchblade Symphony's themes stay on the
playful side,
others take an unflinching look at life's more disturbing realities. In
"Funnel," heavy melodies surround lyrics that could, in this
antidepressant-dependent age, apply to nearly anyone: "She
takes medicine
medicine every damn day/For she thinks she is sick/She was
brought up that way." In "Sheep," a traditional children's tale takes
on the quality of a warning about society's dangers. "Where are
my little little lambs?/Please mister, if you see them/They're
missing/Won't you help them find their way...before the wolves find
them first?"
A few tracks exist mainly to demonstrate the full spectrum of the
spectral
band's style. In "Situation #58," we eavesdrop on an old man
who's ranting
about "Boils and sleepwalkers and backs and widows and
humans and pets and
demons and demons and demons...." The carnivalesque waltz of
"Sick Mary" is
eerie enough on its own, but followed by the broken toy guitar riffs
and the
baby wailing in "Episode G15," these closing songs are enough to
give a
listener nightmares.
Switchblade Symphony is not for everyone, but certain elements of
Bread and Jam for Frances will appeal to even those who
don't wear velvet. As for those
who do, this group clears a path around the tombstones for new
Goth bands to follow.