Spitfire Self-Help
Goodfellow Records GFR037 February 28th, 2006
By Jason Jordan
I have a soft spot for The Dead Next Door, Spitfires 1999 full-length that boggled my mind with its chaotic excellence. Despite more line-up changes than Pamela Anderson has STDs, the group managed to issue The Sideshow Whiplash EP on Goodfellow Records back in 01, though it wasnt to my liking. Then they broke up. Then they reformed. And now here they are completed by members of Norma Jean and Scarlet peddling their sophomore LP in Self-Help. As I feared, The Dead Next Door refuses to be topped, their latest being a major disappointment in practically every way imaginable.
No longer as multi-angled as before, or as shifty for that matter, the new incarnation of Spitfire are too repetitive for their own good. Theyll often rely on the same riff and/or rhythmical pattern for too long, screaming non-stop all the while. Maybe I shouldve addressed the issue earlier, but I like both Norma Jean and Scarlet, so the fact that this sextet shares members with said groups is not whats fueling my distaste. Perhaps powering my dislike is how frail and fragile this seems when compared to its older brother. To move along, though, Self-Help either lurches or leaps, which does indeed destroy any notion of continuity. Ive roomed with the stop/start technique prior to this writing, but the less obvious use of it on this record fosters disjointedness that couldve been avoided by strengthening its presence or discarding it entirely. Its not until Leap of Faith that we discover anything of unmistakable value, the bottomed out commencement of the former radiating greatness. I love the grooves therein as well as the coupling of scratchy vocals and cataclysmic riffs at the 1:30 minute mark. If they were as spot-on all the time, then Id have a helluva record nestled in my hands.
The tenseness that often coats this style runs the stretch of Self-Help, and I like that aspect. Certain parts, strangely enough, remind me of Training for Utopias Throwing a Wrench into the American Music Machine due to the repetition and vocal tone. The screams are processed to an extent thats fine but it seems as if the songs are overly focused on vocals rather than the music itself, which arguably downplays the most important factor. Nevertheless, Spitfire are a bunch of talented musicians and I do indeed enjoy particular songs of theirs. At the same time, Im usually more satisfied with Goodfellows signings.
Quite frankly, though, this album is one I can live without. I was pleased when I learned of their reformation, but if this is what Ill be handed from experienced songwriters, then Im not looking forward to future installments. Check out Norma Jeans O God, the Aftermath instead. Better yet, grab The Dead Next Door and party like its 1999.
4.5/10
UMs Review Rating Scale
Official Spitfire Website
Official Goodfellow Records Website
Goodfellow Records GFR037 February 28th, 2006
By Jason Jordan
I have a soft spot for The Dead Next Door, Spitfires 1999 full-length that boggled my mind with its chaotic excellence. Despite more line-up changes than Pamela Anderson has STDs, the group managed to issue The Sideshow Whiplash EP on Goodfellow Records back in 01, though it wasnt to my liking. Then they broke up. Then they reformed. And now here they are completed by members of Norma Jean and Scarlet peddling their sophomore LP in Self-Help. As I feared, The Dead Next Door refuses to be topped, their latest being a major disappointment in practically every way imaginable.
No longer as multi-angled as before, or as shifty for that matter, the new incarnation of Spitfire are too repetitive for their own good. Theyll often rely on the same riff and/or rhythmical pattern for too long, screaming non-stop all the while. Maybe I shouldve addressed the issue earlier, but I like both Norma Jean and Scarlet, so the fact that this sextet shares members with said groups is not whats fueling my distaste. Perhaps powering my dislike is how frail and fragile this seems when compared to its older brother. To move along, though, Self-Help either lurches or leaps, which does indeed destroy any notion of continuity. Ive roomed with the stop/start technique prior to this writing, but the less obvious use of it on this record fosters disjointedness that couldve been avoided by strengthening its presence or discarding it entirely. Its not until Leap of Faith that we discover anything of unmistakable value, the bottomed out commencement of the former radiating greatness. I love the grooves therein as well as the coupling of scratchy vocals and cataclysmic riffs at the 1:30 minute mark. If they were as spot-on all the time, then Id have a helluva record nestled in my hands.
The tenseness that often coats this style runs the stretch of Self-Help, and I like that aspect. Certain parts, strangely enough, remind me of Training for Utopias Throwing a Wrench into the American Music Machine due to the repetition and vocal tone. The screams are processed to an extent thats fine but it seems as if the songs are overly focused on vocals rather than the music itself, which arguably downplays the most important factor. Nevertheless, Spitfire are a bunch of talented musicians and I do indeed enjoy particular songs of theirs. At the same time, Im usually more satisfied with Goodfellows signings.
Quite frankly, though, this album is one I can live without. I was pleased when I learned of their reformation, but if this is what Ill be handed from experienced songwriters, then Im not looking forward to future installments. Check out Norma Jeans O God, the Aftermath instead. Better yet, grab The Dead Next Door and party like its 1999.
4.5/10
UMs Review Rating Scale
Official Spitfire Website
Official Goodfellow Records Website
