cold cave cherish the light years
  • TUESDAY, APRIL 05, 2011

  • Posted by: Matt Howard

In 1991, the 80s new wave came to a close as Buffalo Bill "tucked" and twirled to Q Lazzarus' "Goodbye Horses". Less maniacal (we hope), but eerily comparable in musical taste and disguising personas, Cold Cave's leading man, Wesley Eisold has revitalized the late, musical movement. His most recent, nostalgic adventure and second full-length, Cherish The Light Years, reinforces the artist's ever-progressing indulgence in nihilism and anguish.

Eisold discovered his musical interest as the frontman of hardcore bands American Nightmare/Give Up The Ghost, Some Girls, and XO Skeletons. Surprisingly, beneath the growls and screams were some pretty heavy lines of passion. His poetry and prose gained recognition, which helped develop his creation of Heartworm Press, an independent publisher. Eisold then branched away from hardcore to explore instrumentation in Cold Cave, whose initial product, Love Comes Close (2009), was undeniably evocative of the cynical synth of the 80s. Although certainly an admirable delve into the alternative, the album lacked congruency. Tracks were either prismatic pieces of excitement, or they were monochromatic and melancholic. Eisold had yet discovered his vocal personality, and the tracks containing his verbal contribution were persistently dull.

Cold Cave's latest creation, Cherish The Light Years, executes that which was absent from his initial effort. Eisold has developed into a humanized symbol of his sonic creations, and his expansive vocals provide an appropriate medium for expressing his stanzas of emotion. The album transcends across multiple moods and tones displaying Eisold's escape from the polar boundaries of feeling. His newfound, vocal dominance compliments the industrialized, synth rhythms, and the result is a cohesive musical narrative.

The album opens with its first single, "The Great Pan Is Dead". The climatic introduction is a blissful symphony of electronic excitement, and an immediate signifier of Eisold's rebirth. The singer discovered a neutral position between the hardcore shrieks and the monotone murmurs of his past (apparently, the product is David Bowie). Accompanied by the percussion of an emptying automatic weapon, Eisold's croons hijack listeners' interest. The existence of Eisold's dark side persists in "Confetti", as well as other tracks. Flowing above the quintessential new wave beat and twangs, are the artist's ambiguous lyrics. Initially, it's assumed to be a heartbreaking tale, but there's a possible subconscious connection with Patrick Bateman lying underneath. He uses, "Oh I'm coming/When you see me, you should run and hide," as the songs chorus. Nearly every track on the album contains an inflicting chorus. Sexually-charged "Underworld USA" upholds this trend when Eisold's beltings are partnered with a beat reminiscent of the Pet Shop Boys. The album's closing song, "Villains Of The Moon", rests in an appropriate location. It most clearly embodies the artist's musical growth. His vocals explore multiple ranges and the pace uniquely toys with contrasting tones.

Wesley Eisold delivered a creation that represents the proficient elements of his prior endeavors. Cherish The Light Years is a nearly flawless assembly of his artistic talents, and it will undoubtedly please the ears of the eccentric and insatiable.

* * * * * * * * * * * *
mp3: "The Great Pan Is Dead"
mp3: "Villains Of The Moon"


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