Wednesday, December 2, 2009
In the post-grunge (post-Hole), post-alternative (post-Garbage) and post-feminine (post-PJ Harvey) world, Queen Adreena's mainwoman Katie Jane Garside established a turbulent environment to be in, as shown in opener "Cold Fish", an angst-ridden pop anthem, unpegged by razor-sharp feedback. The twisted lounge "Soda Dreamer" followed, dreamy and haunted, while in "I Adore You" the violent thrusts of the guitar pushed further towards what was already a tense track. Katie Jane Garside occupied a dejected territory, delineated by "Yesterday's Hymn", a ghostly trip-hop comprised of her broken baby-doll delivery, male chanting vocals, and raspy loops. Then "Pretty Polly" started as a depressed dream-pop lullaby, but was later having feedback-laden rage-attacks.
More eclectic, "Yemaya" resembled a post-grunge cabaret for lost little-girls in an adult hostile environment. "Madraykin" continued to occupy a desolate territory, in what was essentially a fading radio transmission of a post-alternative serenade. These schizophrenic alternations between manic depression and rage attacks continued in "X-ing Off The Days", whose cries of agony pierced the air in what was basically a supersonic litany. The mania retreated in "Hide From Time", the little girl lost covering herself in a cocoon of psychological fortress. Alas, it was not to be, the raging mania resurfaced in "Friday's Child". The album was displaying a borderline dual personality. All these rage attacks, resulted in the same lapse of positive energy, a vicious loop confirmed by the trip-post-blues "Sleepwalking". The closing "Weeds" didn't offer any ray of hope, essentially a lament for what was a vicious circle of emotional dysfunction. Get it here.