Kaviar Kavalier Studio Y
Obscene Productions OBP 047 12th July 2002
By Russell Garwood
Kaviar Kavalier was founded by fetishist Necrocock to play "sick, obscene, gummi gothic rock". They succeeded - translation from German is unnecessary with titles like "Baby Sex Komplex"; while I believe in freedom of speech (hence this review), songs about paedophilia certainly put me off an album. Luckily I dont have to face the dilemma of giving "Studio Y" a positive review if the music is good, as it isnt; simplistic gothic rock with an industrial tinge made to stretch relatively few ideas over a fifteen track album. The guitars are straightforward, but have catchy moments, while the half-spoken, half-sung vocals are utterly devoid of the kind of memorable melodies that can make such simplistic music more enjoyable.
The programmed drums are repetitive and as uninspired as the music, while synths have their moments, but are on the whole nothing special. Occasional samples have little effect, making for mediocre music which (unlike the lyrics), I can barely hide my indifference towards. Hence, this is an album to avoid, one which I sincerely hope has been (lyrically) created to shock, with no basis in reality.
Obscene Productions OBP 047 12th July 2002
By Russell Garwood
Kaviar Kavalier was founded by fetishist Necrocock to play "sick, obscene, gummi gothic rock". They succeeded - translation from German is unnecessary with titles like "Baby Sex Komplex"; while I believe in freedom of speech (hence this review), songs about paedophilia certainly put me off an album. Luckily I dont have to face the dilemma of giving "Studio Y" a positive review if the music is good, as it isnt; simplistic gothic rock with an industrial tinge made to stretch relatively few ideas over a fifteen track album. The guitars are straightforward, but have catchy moments, while the half-spoken, half-sung vocals are utterly devoid of the kind of memorable melodies that can make such simplistic music more enjoyable.
The programmed drums are repetitive and as uninspired as the music, while synths have their moments, but are on the whole nothing special. Occasional samples have little effect, making for mediocre music which (unlike the lyrics), I can barely hide my indifference towards. Hence, this is an album to avoid, one which I sincerely hope has been (lyrically) created to shock, with no basis in reality.
