Make Up Your Own Mind
Black Strobe was formed in Paris in 1997 and influential in the rise of the electro-clash movement in the UK. They have recently been influenced by music from the 1970s and 1980s; especially post punk, European electronic body music, and now much sought after as remixers. The electro-rock band are now releasing their debut full-length album, 'Burn Your Own Church.' It's taken so long to release a debut album, mainly due to members leaving. Paul Epworth (Bloc Party, Maxïmo Park) produced the album, and Alan Moulder (Nine Inch Nails, Marilyn Manson) did the mixing and these influences can defiantly be heard in the album.
Things start with a dose of good old-fashioned terror. 'Brenn Di Ega Kjerke' hits upon the idea of playing the same ominous, rising scale over and over with increasing intensity, and more instruments packed in to 6.5 minutes than Marilyn Manson has tattoos. In another instrumental, 'Buzz Buzz Buzz', how does anyone feel a buzzing sound at the beginning of a track with want listeners to continue to pay attention?
Vocals and sound throughout this album are not quite as expected. Vocals in general are very dull, especially on 'I'm a Man,' and can hardly be heard on 'Last Club on Earth' over the loud music. 'Shining Bright Star' is one of the more interesting tracks. It has the juxtaposition of Arnaud Rebotini's deep voice, and music, which are from two ends of the scale; completely different and do not work together at all. This could be a terrific club anthem; that is if the vocals were removed. 'Blood Shot Eyes' has some interesting opening sounds, with altered vocals that are quite remarkable. Unfortunately, at times it sounds as though they get taken away with the different sounds and it ruins the entire effect. The beginning of 'Girl Next Door' sounds like someone is playing on a child's toy keyboard, while a more rock feel is added to two of the tracks. 'You Should Be' has a hard rock opening, but disappoints when it returns to dance music, and 'Not What I Need' has unimpressive lead vocals, but on the bright(ish) side, for the firsts time on the album there is an underpinning of another vocalist; a more upbeat, and feminine sound, which is an amazing, touch.
With lethargic ballads, it's obvious Rebotini is attempting to force the gothic notes. 'Lady 13' has a slow beginning sounding, which is quite refreshing. But when you add the vocals, this is completely wrong. As the mysterious tune kicks in, with "you love" being repeated in the background, things begin to get boring. The most impressive track on the album, 'Crave for Speed' begins with Arnaud's deep vocals, accompanied by a slow piano, which is uplifting, then a Manson style rock. The chorus to this track sounds better than the entire album put together. The slow verses in conjunction with the rock, hazy chorus are a good change. To still be able to hear the piano sound underpinning the entire track is a sigh of relief. If only the entire album had this much heart, and effort put in.
If an individual approaches a work of art, the receiver's own apprehensions, expectations, and overall ideas of what the elements should or could say or mean, has a lot to do with their overall judgment. In that regard, Black Strobe's album can on one hand be a shocking disappointment to an individual that has no interest in this type of music, then impressive, funny, and intermittently brilliant, to an admirer. Truth be told, this album doesn't do anything more than redeploys some carefully crafted codes while increasing their darker and noisier undertones, with more live guitars and live drums. Synths and bass lines are still effective at time, drums are still heavily insistent, but vocals are completely inefficient, and sound contradictory to the music; there are no real emotions put into the album in general. With this album, you'll have to make up your own mind.