August 31st, 2008 | Uncategorized | 0 Comments
The Disraelis’ debut EP could work beautifully in the right context. Say Spinal Tap were based on The Smiths, Echo and the Bunnymen and New Order, instead of hair-metal bands: Demonstration would be the soundtrack you’d love to pick up after the movie ended.
Singer Cameron Ingles slurs his words like a drunk, gothic Joe Strummer on downers (that’s a compliment) and the band sound tight behind him. The generous reverb, dark synth and ringing guitars complete the 80’s illusion masterfully. The songs are all well written, alternating between lovely, romantic dance-tracks like the New Order rip “In Memory,” and dark Cure-esque swirlers like closer “On Earth”. The Disraelis, like The Brian Jonestown Massacre before them, are great at combining their influences and everything they loved about them but they don’t really bring anything original to the table.
It just sounds exactly like you’re listening to one of those cool English bands from the 80’s, but with an awesomely drunk lead singer. I can still see the purple fashion attire in sweaty Manchester clubs -and I was only a fucking embryo for most of 1989.
That is the band and the record’s fatal flaw. They’re nothing more than a throwback to post-punk; a genre that’s already birthed thousands of bands over the last five years that pay tribute while still sounding unique and modern (see: Interpol), Sure, The BJM get away with re-doing the music of the past but they still twist it up a little (Anton Newcombe’s a little too crazy to just play straight) and besides, you can’t have two bands doing that. That would be like an unoriginal-palooza. The Disraelis are good at what they do, but unfortunately for them, it’d be better if they did something else.