Saturday, March 23, 2013

Type O Negative - October Rust (1996)

After all that tenor and falsetto, I feel like something a bit lower, a bit slower, a bit moodier. Therefore, it is time to slip on one of my Type O cds.

There is something about Peter Steele's voice - so low, so somber, so emotional and powerful. Alas, on April 14th, 2010, aged only 48, he died of heart failure. It was a bitter day for the goth metal world. Standing 6'8" and with a history of cocaine and alcohol abuse, I guess his body was overworked. The negative edge to the lyrics, the self deprecation and general angst were also a sign of his mental health, as he suffered also from depression.

The legacy he left behind was seven albums and nine music videos. I'll try to find some that fit in with this review.

Like most (or perhaps all) Type O albums, "October Rust" is green and black, only the title and the band being written in the actual colours of october rust. Four vertical stems, thorny rose stalks, bissect the cover if the booklet, and on the back the band stare out. Monochromatic, scowling, their long black hair resembling hoods. Steele himself looks rather like a vampire. On it are the words:
"Functionless art is simply tolerated vandalism.
We are the vandals."
Inside, the lyrics share page space with autumnal scenes creating a melancholic, somewhat oppressive atmosphere.

The album opens with "Bad Ground" - 37 seconds of long, drawn out static, followed by an introduction by the band - complete with chicken noises.

First actual track, "Love you to Death" starts low and smooth - Steele's voice a rich caress to the aural senses. His low, bass-baritone vocals stir something deep in the soul, although mostly he sings at a slightly higher pitch. The keyboards and solemn melodies entwine into something that is somehow both romantic and melancholic at the same time. It ends with the heartfelt plea:
"Am I good enough for you? Am I? Am I?"

"Be my Druidess" has an electronic edge to the music and a faster paced, slightly more upbeat mood. This seems to be about pagan rituals involving sex, something which can easily be concluded by the closing lines*. Darkly romantic.

Still slow, "Green Man" is rich with verdant goodness, the music feeling organic and alive.

Heart-breaking "Red Water (Christmas Mourning)" is possibly the saddest Christmas song ever. Slow, poignant and melancholic. The lyrics say it all:

"My table's been set for but seven, just last year I dined with eleven..."
Steele's deep voice, with its slightly liliting, accented edge to it, combined with the slow rhythms and dejected Christmas bells are enough to bring a tear to the eye.

 In a completely different vein, we have "My Girlfriend's Girlfriend" with its more upbeat rhythms, catchy chorus and rather silly and colourful video clip.

"Die with Me" starts with almost whispy vocals, gentle and mournful, accompanied by acoustic guitars.

This is followed by the rather repetitive "Burnt Flowers Fallen".

The cruisy, almost soothing "In Praise of Bacchus" is another richly organic piece. Vocals are slightly distorted and fuzzy. The fade-out is haunting and lingers, like smoke after a flame is extinquished, flaring again to complete the track.

Now for a cover song - Neil Young's "Cinnamon Girl" is treated to Steele's deep and magnificant vocals.

"The Glorious Liberation of the People's Technocratic Republic of Vinnland by the Combined Forces of the United Territories of Europa" is a weird instrumental that is over before I finished typing the title. I had to listen to it twice. It's slightly ominous, with chanting and cheering. I'm sure there's something deeply meaninful about it, but I don't get it.

The beautiful and haunting "Wolf Moon (Including Zoanthropic Paranoia)" opens with piano and violins (or bass). If you don't know what this song is about, read the lyrics carefully. If you still don't know, then it's probably better that way. It is another slightly murky sounding piece, over which Steele's voice rings out loud and low and clear and true.

The spectral and epic "Haunting" concludes the album. It starts slow and dramatic, looming beats and achingly wrenching vocals.

There's a final message from Peter too.

Although generally I prefer the higher, more operatic male vocals, I would have to say that the lower ones - like Steele and Brennare, definitely seem to stir something visceral within me.

Haunting, melancholic, beautiful, romantic - these are all words that can be used to describe this album. It's a fine offering from a fine band. We will remember you Peter, your legacy lives on in your music.

Rating = 8/10.

*Which are far prefereable to Quorthon's statements in his horribly grunge-esque solo track: "No More and Never Again"



No comments:

Post a Comment