By By Mita Tate
Imagine a world of embittered, desperate bar patrons finding their only reality in a bottle of gin after being discarded by society.
Cheap, tawdry prostitutes demonstrate their goods, as they strut down the wet, destitute street that is their catwalk, only stopping to sell their soul and dignity for mere change.
In the claustrophobic, urban underworld created by the band, …bender, there is no hope that one day things will change. This is a far more vile image-pathetic beasts trying to live the best they can in a world of savage lies. …bender is their quiet anthem.
The British trio is made up of filmmaker and beekeeper Geraldine Swayne on vocals and guitar, among other instruments, “Uncut” photographer Steve Gullick and James Johnston, a member of Nick Cave & The Bad Seeds.
However, instead of the gloating, arrogant cruelty found in many songs composed by Nick Cave & The Bad Seeds, …bender offers up 14 stripped down tales of urban decay and lifeless depression.
The album sounds as if it was recorded in Highgate Cemetery, during the coldest nights of winter. The ultra-lo-fi recording quality of the album only adds to its rawness. Though they are obviously chamber rock in nature, a secondary genre …bender could be thrown into is doom. Not doom in the sense of Bohren & Der Club Of Gore or Make A Change… Kill Yourself (although that name would be very fitting for them), but doom in its truest sense.
Swayne’s soft, brooding vocals floats in the second track “Louder & Louder.” Backed only by a few dissonant guitar chords, her voice grows more treacherous as she repeatedly pleads with the listener to “Come on and go.”
On the next track, “Stop,” Johnston takes over the vocal duties and can only be described as Ian Curtis calling out to anyone from his cold grave.
“Rest In Peace” is the true highlight (or lowlight depending on your view) of the album. Church organs and a few discordant guitar chords serve as the music while our protagonist drifts in and out of consciousness much like a drunken sailor being swallowed by the Black Sea. He shrills “You impress me in life / You depress me in death” as the organs drone in an almost psychadelic pattern, finally coming to an exhausting end with “You missed your chance / You’re missed by many / Especially your blood.”
The album also features several instrumentals, which are near-perfect mini-masterpieces. The only downside is their short running time. This is made up for by the haunting instrumental “Amen Corner,” which sounds like lost souls trying to break free and live once again. It also eclipses the work of isolationist ambient artist Lustmord as possibly the most frightening thing ever recorded.
A tour-de-force of epic proportions, …bender is the most depressing, yet beautiful album of the year.
Just remember to try and not let this incredibly depressing album bring you down.