It reads...
Here we are then, around fifteen years late, but it finally feels as if the end of the millennium has arrived. As the forces of power and terror mass within and without a great dystopian darkness seems to be falling on the land. As while the mainstream media continues to spew out ephemera to keep the masses diverted away from it all, at the margins of culture there seems to be an awakening of macabre meaning.
The new Teeth of the Sea has arrived like no other, by anyone. This is an album that has a ‘fuck you’ strength to it, yet closer inspection reveals an altogether more subtle and fragile sense of reality that suggests a real fear for the present and, I am sure, the future.
The album’s opener ‘All My Venom’ begins with a monotone, indeed monochrome, chord through which the lightness of a trumpet shines through. This is overpowered by a huge electronic beat and the sound of a far more sinister trumpet, and guitar. There seem to be two things competing here, hope and alienation. As the track plays out the whole track becomes more and more sombre, building into a huge crescendo and the scene unfolds with even some guitar reminiscent of Jeff Wayne’s War of the Worlds: they are here! Who they are is not clear, more alienation than alien, but at just past five minutes into the track it explodes and the venom pours out: you can feel the anger and the despair in this huge moment of catharsis. This is music at it’s most powerful, music designed to overcome! I am exhausted and only at the end of track 1.
Read the rest of the interview here: Back Seat Mafia
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