Cable35 – Louder
Reviewed by Paul Fellowes
Diving into the album, the first thing I notice about Louder, is that, unlike the conventional album – in which the idea is to grab you at the beginning and keep you listening throughout – the opener doesn’t take you on that journey you were hoping for. Unfortunately, it’s not until the second track, that the listener really begins to listen.
Cow Head manages to capture the essence of Cable 35 – however, it’s that insight that worried me as a listener.
Whilst, you can appreciate the musicality and presence that they bring forth, you find that when there is no indication that singing is going to happen, and that the musical melodies became a mishmash of apocalyptic and death-thirsty noise – you start to lose interest.
Can I follows suit to the previous track and it automatically became apparent that Cable 35 are targeting one particular audience – which, sadly narrows the scope for potential new fans.
Bobby Funk brings forth a whole new way in which you find it hard to be drawn in by the music. The words are spoken/muttered throughout – with the melodies repetition proving tiresome. Undoubtedly, it all seems that this is one long track that has haunting and misery within it.
Moving throughout the solemn album it seems that Factory Floor, Come Down To Party and Lost City all use the same formula – which sadly, detracts from the core persona of the band. Whatever edge Cable 35 could have had, unfortunately, gets lost.
Saturated and House Of Fire have the same intrusive riff that once again, overstays it’s welcome. By this point, it almost seems like the band have become uninterested in their own work – relying on repetition, rather than bringing a new sound/idea to the table.
Abducted – the interlude of the album however, becomes a God-send when it comes around. It changes the presence of the album with reversed sound – and allows the listener a break from the constructs of the album.
Surfing Africa sis undoubtedly the best song on the album. The varying styles and elements offering a slight hope of potential for the band and their future sound.
However, just after that small ray of hope beams down on the latter of this album, Memories, Fat Snowman and Crops come in to break down the proverbial wall. The estranged and out of tune singing/screaming with overbearing bass and repeated riffs pull it all down by the wayside.
The same chord progression is apparent throughout Matonto, but it seems that the vocalist has been changed in this track. There is no screech in his voice and finally there is a rock song that has some essence and excitement to it.
The finale to this … noise, is another version of Lost City, aptly titled the “pussy version”. Assuming this is due to the tracks acoustic guitars and stripped back ambiance – this song is undoubtedly meant for those, like myself, who enjoy a humble singer with an acoustic, and some simple drums.
Overall, I unfortunately became more and more unimpressed with this album the further it played out. The repetitive melodies and screaming vocals left me with a, sadly, very lazy and very mundane album.