Power chords akin to Whitesnake and monotonic pointillistic bass lines that evoked the Strokes were this London quartet’s calling card. Added on were anguished and self-involved lyrics that sometimes became morbid or drab and resentful. Singing in what began as a grumbled, mumbled, voice, the lead singer took on a more euphonious tone as the set progressed and he honed in his vocals around the intended notes. Heavy synthesizers permeated all their songs, either sounding like icicles and serving as decorative accents or calming amorphous swaths of light and adding background. Singing usually took precedence for the lead singer, letting his guitar hang loosely during verses and only picking it up to play final garnishes. When he did dig in to it, he pulled heavy on his whammy bar, letting his guitar snarl before singing. But more often than not it was the relentless beating bass line that covered any cantabile cadence.
"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.READ the article