Metal
From Baltimore comes the new record by Polkadot Cadaver, which will not leave anyone indifferent — it is fun, extravagant and downright weird. One of those albums you absolutely have to listen to once, after which the question that comes up is: did I actually like it?
The former members of Dog Fashion Disco — John Esminger (drums), Todd Smith (vocals and guitar), Jasan Stepp (guitar, keyboards and programming) and Brian “Wendy” White (bass) — have, we could say, put together a wild, hilarious record, as the grotesque but charming album cover already suggests.
Energetically, we get the first riffs of “Emotional Creatures”, which give way to spoken-word verses and melodic choruses, signalling right away that we are in for complex compositions. Which is exactly what we find, in a bridge built on a rebellious ostinato that leads us into a new section, caught between melody and mayhem, before an abrupt close.
With a very techno-pop feel, two drum tracks and a digitally treated bass, “Where Do I Belong” presents itself. But this mood does not last long once the electric force of the guitars kicks in, and the track develops in a fully metal direction. That said, the flirtation with electronics set against forceful rhythmic figures continues.
“Godless Noise” is a pseudo-punk romp that strongly recalls the brilliant antics Mister Bungle used to pull off. It gradually explores progressive-metal territory in furious, relentless fashion. Three minutes of pure fun.
And continuing the game of contrasts, we are back in eighties gothic-rock territory with “A Dog Without Water”, and with the decision to bring in rototoms in the chorus, we jump forward a few decades. This first section could have been signed off by King Gizzard & the Lizard Wizard themselves, on one of their rockier days. The interlude ventures into more complex ideas, fusing in increasingly heavy elements that set everything up for an in-crescendo ending, closing with a guitar-and-vocal coda.
In a sped-up doom style, “Eat My Tongue” presents itself, gradually turning into a theatrical, comedic song, especially through its vocal treatment. And, naturally, this ends up becoming a thrash-metal song — you are genuinely not sure how. An unclassifiable composition that leaves you a bit baffled, with a smile on your face, when you spot similarities in the lyrics to the story Rammstein set to music in “Mein Teil”.
A new atmosphere is set up by “Catch Me If You Can”, a track where rock and electronica merge in a way that recalls the Germans Oomph!. The song travels along fairly standard paths, alternating verses and choruses, but in the middle section they toughen the approach and end up playing with the track’s tempo. Probably the least deranged track we have heard so far.
“Ripe Fruit for the Wicked”, on the other hand, sounds like a metal band scoring a Vincent Price film, with a playful keyboard as counterpoint in the choruses. Even more eccentric is “Shapeshifting Reptilian Overlords”, where almost the only fully graspable part on a first listen is the chorus backing vocals, since it is packed with rhythm and structure changes that enrich it enormously, while also making it a track of a somewhat bizarre genius.
A track titled “Mrs. Gore” is naturally unsettling. And sure enough, it opens in a mood that tells us the horror story of Mrs Gore, hacked to death with 41 axe blows. So a dense, forceful chorus was to be expected, but also a surprising rap-metal section that briefly speeds things up and breaks the mood. All in all, a lovely little carol to enjoy with the whole family — grandma especially.
Writer: David Sàez