Semi0n - Sex, Death & Repetition - Albums - Reviews - Soundblab

Semi0n - Sex, Death & Repetition

by Deany Sevigny Rating:5 Release Date:2010-02-28

First impression: bewilderment. Good or bad? I dunno. The EP as a whole fits somewhere in between The Sex Pistols and Prodigy, with The Hitcher from The Mighty Boosh as lead singer. This sounds like a recipe for hilarity you can dance to (if you like The Mighty Boosh) and there's definitely an underlying sense of humour to the sound, somewhere beneath the admirable ambition and the unfortunately dislikeable ego - and believe you me, there's bucket-loads of both!

Opener 'Die with Dignity' begins with an unsettling monologue by a creepy old man addressing a loved one with the air of a killer. Cheerful stuff. The drumbeat emulating a heartbeat emulating a drumbeat adds a sense of tension that is almost immediately shaken off when the mockney vocals kick in and we're treated to a tirade about suicide and drugs set to a nu-metal soundtrack. Imagine being guided to the curb by the bouncer of some trendy Soho nightspot during some 'alternative' DJ's set-list, your head swimming with sambuca, and you're quite close. 'Lips' can only be described as an oi! punk reimagining of The Shamen's 'Ebenezer Goode' sung in a 'crimping' fashion, a la The Mighty Boosh. (That's not a good thing.) Nineties nostalgia ain't ready for a comeback. Hopefully it won't ever be, actually. Who is actually nostalgic for the 90s apart from abysmal gay pubs and late-20s/early-30-somethings that remember Take That the first time round?

'The 3Rs' threatens to be some ethereal Florence + the Machine ballad, judging by the spaced-out ambient intro, but quickly turns into an angsty Red Hot Chilli Peppers-'em-up, banging on about repetition in almost all aspects of one's life. It might be skin-scrapingly close to real life, and it might also be sung and structured in an ironic manner - as I have no doubt someone will point out after reading this review - but it doesn't stop it being monumentally dull stoner rock. The final track, entitled 'I Think We're Dead', is the most interesting and listenable track on the EP, sounding like a cross between Blaqk Audio and Aphex Twin. Broke-beat drum'n'bass abounds. It's atmospheric, haunting, bleak, and before I knew it I was nodding my head, swaying to and fro, and shaking my thang in my seat. By George, I think they've got it! But it's not strong enough to carry the EP on its back.

With this much enthusiasm and blatant ambition they have the potential to create something rather special, but we're still left wanting. More rather smashing electronic numbers like the final track and they could just prove that not all electronica in this part of the 21st century has to be dominated by some impermeable matriarchy.

Dean Birkett

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