Cut from a similar cloth as the previous single and EP, the first full fledged album from Puerto Rico Flowers doesn’t take any drastic leaps in style, but instead is a more developed, refined version of the former Clockcleaner vocalist John Sharkey III's modern goth pop project that perfectly balances nostalgia and modernism, and has been doing a good job of getting stuck in my head ever since I first heard it.
Much has been discussed of how seemingly drastic of a shift Puerto Rico Flowers is from Clockcleaner, but I don't see it as such a drastic leap.Sharkey's other project always had an underlying post-punk, pop-infused current that was intentionally obscured by the absurdist machismo grandstanding and snarky humor.Clockcleaner always sounded like it would be perfect in a dingy bar that reeks of stale beer and staler piss, but without that ambience, PRF would sound rather similar I think.
These seven songs maintain a similar pace, mostly lead by distorted bass and synths and thus have a consistent feel (consistent, but not overly similar to one another).Opener "I Feel Good" instantly reminded me of the plodding, pounding beats of the first Killing Joke album, which was even further enhanced with the trademark over-driven bass rhythms.However, the synth work pushes it into a different realm of bleak.
Again, there's definite parallels with other artists to be heard, but never does it feel like a direct rip-off of anyone.For one, Sharkey's voice has pretty much locked in to a Dave Gahan model with hints of Ian Curtis.Some of the individual songs too feel almost like tributes:the slow drum programming and bass lead of "Freezing Tears" instantly reminded me of the Sisters of Mercy cover of "Emma," but without the cock rock grandstanding and pseudo-ironic pretense.
One of the biggest leaps on this album is definitely Sharkey’s vocals.While it still retains the expected death rock monotone sound throughout, there’s more actual "singing" going on all around, whichprevents monotony from setting in.The aforementioned "I Feel Good" for example, shows a wide range, sonically and emotionally, making it a personal favorite song.
This variety leads to an almost pop sensibility in the sense that the songs become quite catchy and memorable, which an achievement for a project that is heavily focused on mantra-like repetition.The distinct verse/chorus/verse structure of "3 Sisters" for example, lends a extravagant, almost anthemic quality to it that makes it quite memorable."Keep Me Around," with all its lyrical smugness, is the closest thing to an up-tempo number here: a more brisk pace, catchy chorus and extra guitar, courtesy of Kurt Vile, flesh it out quite well.Closer "After the Weekend" also goes in a drastically different direction, ignoring the drums and just meshing the vocals with a slow, funeral paced synth line and sparse piano.
I mentioned in my first PRF review last year that I felt some common ground between the band and Cold Cave and, considering the spectacle that is Cherish the Light Years, the two projects are taking very divergent paths.While I loved the Cold Cave album too, 7 is more natural and organic, not focusing on epic production and dramatic effects and instead excels on the strength of the songwriting and arrangements alone.It does everything a debut full length album should:it retains the raw freshness of the earlier singles but in a more polished, developed way that makes it one of my favorite albums this year.
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