Self-conscious quirk.
Generally lo-fi and rough around the edges the DCW sound is minimal and raw; keyboard, guitar, basic drums and barked lyrics along with fuzzy production bring to mind The Jesus and Mary Chain at times, but DCW are steadfastedly more lo-fi and indie than even that. The knowing, ‘clever’ lyrics on most of the tracks on “Bluebeard’s Rooms” are like a more crude version of Half Man Half Biscuit • however, where HMHB use humour to create amusing stories, DCW use swears and sex to tell theirs, this combined with the indie feel of the tunes creates a strangely jarring effect though that sometimes pulls you free of the experience of listening with a grimace.
Most of the tracks here have pretty decent opening riffs; you keep expecting them to break into a blistering melody, instead they always stay under the radar, content to repeat that riff over and over instead of moving off into a standard verse chorus pattern • this refusal to conform brings to mind The Fall, along with the off key, spoken vocal style and quirky lyrics. The quieter tracks • like ‘I Do Know’ and ‘Pale-skinned Girl’ are better; more melodic and vocally less inconsistent.
Occasionally there are tunes where the album becomes almost comfortable in its own skin, like on ‘My Best Friend’s Going Out With A Girl I Like’ where the DCW approach finally comes together and works really well; when the tune is more low key and not attempting too much the hypnotic riffs can suck you in and the bark/whine of the vocals seems less intrusive. Often though it’s quite hit and miss and overall this is one of those records that will split audiences into love or hate, especially lyrically • possibly coming across as smug and pretentious to some and amusing and creative to others.