Usherhouse ‎– Molting

Label:
Talitha Records ‎– CD Sate 05
Format:
CD, Album
Country:
Released:
Genre:
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Tracklist Hide Credits

1 The Line 4:09
2 Body Politic 5:53
3 Surrender Down 3:25
4 Avalanche 4:57
5 Mind Enemy Mind 7:34
6 Caesar's Falling 6:01
7 Permanent Red 3:28
8 Second Skin 7:01
9 Real Horror Show
Keyboards – Nick Pagan
3:16
10 Final Man 6:31
11 Monkey Strange 3:32

Credits

Other Versions (1 of 1) View All

Cat# Artist Title (Format) Label Cat# Country Year
CLP 5901-2 Usherhouse Molting(CD, Album) Cleopatra CLP 5901-2 US 1993 Sell This Version

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LuciferSam1972

LuciferSam1972

November 12, 2015
In '93, I saw these guys open up for Dave Vanian & The Phantomchords. Killer live!
bonnicon

bonnicon

June 4, 2012
"Body Politic" opens the album with clattering Industrial percussion & hanging streamers of haunting guitar before gelling into a slow, moody, distinctive track with the huge pomp of the BAUHAUS end of Goth. It kicks into a faster, leaden-heavy thrash-out, midway through, returning to it's original sound before concluding. "Surrender Down" uses it's giant-sized guitar muscles to great effect, creating a light-yet-matted-dull-grey atmosphere. The drums have a hinged, angular feel to then, and the vocalist has equal the power of the leaden Rock. "Avalanche" picks up the same mood & takes it into further shadows, while soaring guitar scratches into the music, turning it into a blend of BAUHAUS & THEATRE OF HATE. It switches from slow mood to thunderous mass Rock. "Mind Enemy Mind" grows out of a semi-dark hanging mist of FX'd drifting sound, combining a MICK KHAN-like bassline with PETE MURPHY vocals, yet comes out sounding much better than DALI'S CAR ever did, the words themselves are kinda cliched with horror film imagery - archetypal Goth. "The Line" has a drum pattern which starts like some 70's experimentalism, soon kicking into a faster, more intense drum drive with the guitar blistering with angry adrenaline & the vocalists strength becoming almost drowned by the thrash-out mass. "Ceasar's Falling" slows down the pace again into a dark but proud Rock sound, large & intense. A dark dramatic piece of prose against a complimentary backdrop. "Permanent Red" again has a KHAN-turned-to-Rock bass over which a simple but distinctive tune is layed, thick with steel-grey muscles. "Second Skin" rises out of a misty, whirling feedback on bone-firm drums & a space-consuming blend of bass guitar through which the vocals follow the simple tune to maximum effect - a two-note tune with plenty of hook. "Real Horror Show" rises again out of a mêlée of noises - echoing, distorted mood guitar & shattering sounds, struggling to pull itself free with searching toms. "Final Man" grows out of a typical USHERHOUSE mood Goth into a more post-Sixties guitar band sound, beefed up into a steroid-built freak - a good, strong song, with plenty of tasty promise for the future. Finally comes "Monkey Strange", lifting the tempo up again with a scorching, kicking, racing piece which seems lighter in mood, even with the guitar's huge strength.
A group who force a misty light out of a traditionally dark & moody scene, and do it with interesting style.

Originally reviewed for Soft Watch.