Sex Church - Growing Over

£ 15

$ 19

£ 15 Sold For

Jun 17, 2016 Sold Date

Jun 23, 2015 Start Date

1 Number Of Bids

Germany Country Of Seller

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Description

General

Article name: Growing Over
Genre: Rock englischsprachig Product type: LP (Vinyl) Label: LOAD Number of tracks: 11

Tracklist LP - 1

1. Sex Church - Put Away 2. Sex Church - Waking Up 3. Sex Church - Dull Light 4. Sex Church - Bleed Me 5. Sex Church - Paralyze 6. Sex Church - Growing Over 7. Sex Church - Colour Out of Space 8. Sex Church - Treading Water 9. Sex Church - Garbage in the Grass 10. Sex Church - Beneath the Bottom 11. Sex Church - Always Home

Description

Starting with a slow, steady, and ominous riff that feels very ghost of Bauhaus via '90s emo, "Put Away" begins Growing Over on a momentous and ominous note, an upward-sounding marching to something momentous that's not necessarily pleasant. It's a nice act of formalism on the part of Sex Church, perhaps reflecting the Canadian quartet's own move from a more messy stage approach to something with a sharper edge. The introduction of vocals on "Waking Up" adds a further sense of doom but the slow, echoed pronouncements avoid histrionics in favor of steadily voiced contemplation, even as the mix of brightness and doom continues along. With that model set, Sex Church make their enjoyable way throughout Growing Over, feeling like some lost document from '80s Southern California -- Nate Starkman & Son/Independent Project style -- given a new liveliness in the 21st century. Songs like "Bleed Me" and the brilliantly titled "Garbage in the Grass" have the Morricone from hell trash-garage feeling down, while "Colour Out of Space" completely cuts loose in a squall of noises, including sax, that calls to mind the noise origins of the Load label and more besides. Somewhat gentler moments like "Dull Light" could almost be a slightly more stern early R.E.M., at least before the noisier break, and the pulsing, rigorous synth-bass of "Beneath the Bottom" introduces another tack while keeping the same general mania. Meanwhile, the title track is far from a power ballad but has a beautifully obsessive feeling to it, a steady two-note figure setting the central tone as other guitars sweep around it and the rhythm moves along, the singing gaining a more aching feeling on the chorus. ~ Ned Raggett

Ned Raggett