Aug 2011 09

SKOLD - Anomie
Category: Industrial Rock
Album: Anomie
Stars: 4
Blurb: Well worth the 15-year-long wait, the sophomore album from SKOLD is a finely crafted display of industrialized rock & roll.


Tim Skold is a most unusual character in the underground music scene. From his odd beginnings in the hair metal turned industrial rock act Shotgun Messiah to his later associations with the likes of KMFDM, ohGr, and most recently Marilyn Manson, Skold has maintained a prolific output over the past two decades, releasing his self-titled debut in 1996 and earning a reputation as an effective producer and musician in the interim. After 15 years, SKOLD fans can rejoice at the release of the sophomore album, Anomie.

Anybody expecting Anomie to be a rehash of the previous album as the leaked Dead God EP in 2002 was will be in for a shock. To be sure, Skold hasn’t abandoned any of his industrial leanings, as evidenced by the introductory single, “Suck,” a raucous display of chugging guitar riffs and pounding mechanical bass rhythms, sounding not unlike something he might have produced during his tenure with KMFDM. As well, “Black Out” marches along with an atonal synth refrain between instances of an explosive one-two guitar punch, complete with deep analog warbles for texture, and “Tonight” races by with a highly danceable beat and immersive synths reminiscent of ‘80s new wave if roughed up by rivetheads after dark. However, at its heart, Anomie is ultimately a rock & roll album – synthesizers play accompaniment to what is a very guitar, bass, and drum-driven collection of songs. “Satellite” trudges along with a steady tempo with Skold’s voice taking on an uncharacteristic low tone overtop noisy yet bluesy guitars, very much akin to Iggy Pop’s and David Bowie’s Berlin period in the late ‘70s; perhaps a remnant of influence from his days with Manson. The same can be said of “The Hunger” as morose acoustic guitars move at a somber pace, with Skold singing an emotive and somewhat vampiric chorus, while an incendiary guitar solo and distorted Mellotron-like sample at the end of “What You See Is What You Get” bring the album to a fittingly dramatic close.

“Rock ‘n’ roll’s not suicide, it’s life support;” so Skold proudly proclaims on “Here Comes the Thunder,” and so exemplifies the lyrical and musical theme of the album. Wrought with heavy guitar solos and infectious riffs that will surely get stuck in one’s head and stay there long after the end, Anomie shows a new and improved SKOLD, seasoned by years of performing with other luminaries of the underground music scene and showing a maturity of production and songwriting ability, balancing polish with grit to make for an album that sounds rawer than it really is. Granted, the lyrics are still juvenile to the point of being outright emo on some songs, but there’s a simplicity to them that gives the themes of social alienation and personal discovery added weight, enabling them to rise above the criticisms of past work. In short, SKOLD’s Anomie has been well worth the decade-and-a-half-long wait.
Track list:

  1. (This is My) Elephant
  2. Suck
  3. Black Out
  4. Angel of Noise
  5. Satellite
  6. Becoming
  7. The Hunger
  8. Here Comes the Thunder
  9. And Then We Die
  10. Miserably Never Ever
  11. Tonight
  12. What You See Is What You Get

SKOLD Website
SKOLD Facebook
SKOLD Twitter
SKOLD SoundCloud
Metropolis Records Website
Metropolis Records MySpace
Purchase at:
Amazon CD
Amazon MP3
Ilker Yücel (Ilker81x)

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