Okay,
don’t let the crap artwork put you off this one, and seriously,
it is crap, but maybe it’s that whole cheerleader thing, but for
such a dark ambient/industrial opus one expects some aesthetics –
though if you need aesthetics, trundle off to the Steelwork Maschine website
just to know they’re not kidding around.
Cheerleader 69 skewers itself somewhere under the oscilloscope’s
gaze of ambient to industrial music, though the ‘scope can’t
quite figure out the irregularities between the pair and finds itself
strobing in sequence to the minatory effects. Silted drones undulate a
carpet, a bed of apprehensive melody, squeals, and noise that loom like
storm clouds creeping ever closer on tendons of electrical light. Bleating
horns wail peculiarly to depredated vocal bubbling, but it is not until
the title track that full percussion unleashes, a Valkyrian dirge rimming
with female samples, Lisa Gerrard sawn in half. It lashes columns of gloom
that approach moments of In Slaughter Natives. There is great variety
in the tracks yet the album flows like one massive sojourn, arrays of
electronic generators form the bulk of the sound-forms yet vx69 (the man
holding the knife behind the pom-poms) finds gentle moments of lulling
respite to insert more organic mimicking with dulcimer bed-time nursery
tunes. Cheerleader 69 evinces an intimacy with symphony and industry from
opening moments till end, including the bonus three tracks, though it
is these three tracks that do break the mold by not continuing the dark
dissertation, embalming itself into an orchestral nightmare that ISN fans
would easily enjoy, with the vocals of vx69 for the first time being heard
in these darker more martial stomps.
An excellent album requiring exigent purchase, but whatever you do, don’t
look at the artwork which is a garish montage in putrescent orange of
some 80’s attempt at design… and calling it design is a stretch,
it’s just plain revolting. And oh… those cheerleaders…
NYR
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