Recorded just towards the end of the career, the Philadelphia noise rock trio ends up departing on a definite up note. This four track EP is an exemplary one, capturing both the surly, filth driven noise scuzz with the melodic, '80s death rock leanings that vocalist John Sharkey would carry over to his current Puerto Rico Flowers project.
There almost seems to be a bit of intentional obscurity in the structure of the disc, with the opening and closing tracks being very in-line with 2007's Babylon Rules and all its grimy punk violence, while the two sandwiched in the middle are much more melodic in nature, almost like the band was a bit apprehensive of this "softer side" being heard initially.The opening "Pissing At The Moon" is, therefore, not unexpected in the least for anyone who knows Clockcleaner.Crawling along at a snail's pace with sharp, trashy metallic drums and a basic repeating guitar rhythm, Sharkey's voice is up front, bring along the dramatic monotone style that is the obvious result of hearing every worthwhile goth band of the 1980s.
The closer, "Midnight Beach," channels the trio's industrial heritage with the rapid fire drums and random percussion sounds thrown around with reckless abandon.Between that and the distorted, bass led opening and outbursts of guitar squall, there's more than a hint of Swans and Big Black to be found, of course with the requisite deadpan vocals.
Squeezed between these two blood and shit covered outbursts are two songs that show a very different Clockcleaner sound."Chinese Town" uses ragged high pitched guitar and simple, plodding drums, but opens up with dramatic flourishes of sound that is the very definition of the sum being greater than the parts.In addition, the presence of what at least resembles a guitar solo and actual moments of melody in the vocals, rather than the morose, autistic approach that’s usually utilized creates a song that’s definitely catchier than the usual audio abuse.Lyrics like "Everyone I have ever loved is sleeping in the ground" keep it grounded in familiar territory, however.
"Something's On Her Mind" pushes those barriers even more, with a guitar sound that screams "new wave" at the onset, more actual singing, and a sense of propulsion that is quite different than the usual zombie death march.Even some of the grime is stripped away, to the point where it sounds almost "normal," although with old school demo tape aesthetics.This feels like the jumping off point that lead to Puerto Rico Flowers, with its slightly less morbid feel and catchier songs.
As far as "final albums" go, Clockcleaner at least went out on top of their game, pleasing fans with familiar material while still dabbling in new realms, and not simply shatting something out to cash in on any sort of legacy.While it's always sad to hear a band I like ceasing to exist, at least it is a strong, memorable exit from this world.
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