Hard-Wired Gothic Rock Review
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As I've got older - and become a parent - I've become more sensitive. No doubt this has evolutionary advantages, but we'll ignore these for the moment to focus on my reactions to the second album by Uninvited Guest. If there was a criticism to be made of their debut album it was singer Dean Hathaway's preoccupation with religion as a lyrical subject. He always expressed himself eloquently, so I didn't find this preoccupation marred my enjoyment of the music. On the other hand I was pleased to discover Dean's personal firing range had acquired some new targets on the album. And yet, are the new lyrical themes too close to the bone, too honest, too painful to encourage the listener to return?
'Mother Nature Made A Monster' tackles the topic of environmentalism and the harm that mankind has caused, 'Abigail' deals with child abuse, 'The Law of the Playground' with bullying, 'Still I Miss The Man' the death of a parent. I've always said that I want lyrics to have meaning and significance, so does it seem churlish to ask: Is it possible this album is too depressing? There's enough misery in the real world, do I really want to hear it in my music? There's an argument that these subjects must not be swept under the carpet, or else the guilty will be allowed to continue perpetrating their crimes. To be fair none of these subjects are dealt with clumsily. Dean's lyrical prowess has not deserted him. 'Abigail' is heart wrenching. The lines: 'Just by placing her dolls in ridiculous poses/she told her secret without uttering words' makes me despair of the world we live in afresh each time I hear them. Similarly 'Still I Miss The Man' sees a song based around the acoustic guitar and the band acquit themselves magnificently. If you are aware of Uninvited Guest's previous material you'll understand the intensity of the emotion when Dean sings: 'For the first time in my life I envied faith/I wished for something more'. As if the seriousness of these songs are too much for one album to cope with there are examples of whimsy, such as 'Strange Gothic Romance' and 'Jack Dandy'. The former is the sound of Voltaire performing a waltz at bar Caritas (from TV series Angel). Just when the listener seems to be drowning in a sea of ridiculousness there is a kazoo solo. I'm not kidding. Then there are some Queen-like guitars. It's admirably over-the-top and shows the confidence Uninvited Guest have gained since the last album. On the other hand it's not the sort of thing I'd choose to listen to for pleasure. 'Jack Dandy' sees Dean adopting a comedy voice and a Victorian serial killer persona. This would make an amusing musical hall performance, it's just I wonder if this cabaret is a tad self-indulgent. Most successful are 'Join The Dance' and 'You Are Your Kingdom' which appear in supercharged versions. These songs have the power of the first album. 'Sombre Defile' and 'Wonderland' are electronic ambient noodlings. Things are brought to a close by a cover of Bauhaus' 'Double Dare'. Uninvited Guest are an excellent band. They have a clear vision of what they want to achieve. They are not prepared to compromise their vision. These are things to be applauded. Malice In Underworld is a brave album. On the other hand I can't help but think I prefer their debut album. Nothing on this album matches the rock-driven delights of 'Angel Boy' or 'When You're Dead'. Still, the alternative scene is better off for having bands like Uninvited Guest. |
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