Have you ever wondered what would happen if you took the pulsating rhythms of Killing Joke smashed them headlong into the gothic guitar overtones The Mission and then topped it all off with the more melodic elements of Revolting Cocks? Well, I can tell you, it’s the sound of Svendials, and their debut ten track ‘A Crash Course In Catastrophe’ is something I would urge any fan of these bands to check out immediately.
Why? Well, for starters, it’s a band that not only features the talents of Chris Connely, Paul Feguson and Mark Gemini Thwaite, but also, more importantly, what the resulting output from these guys sounds like is anything but a mere amalgam of their constituent parts. So, whilst on paper Sevendials may appear to be another alternative supergroup, what you actually get when you fully immerse yourself within the dark underbelly of ‘A Crash Course In Catastrophe’ is anything but a record that is safe and plays by the rules.
Let’s start with lead single ‘Zodiac Morals’ as this was the first track I heard by Sevendials, here it pops up mid-album, all broody and full of swagger, propelled by a monstrous Mark Gemini Thwaite guitar riff that could have graced any Killing Joke record. It’s when Chris Connely opens his mouth to sing, though, that my interest levels really peak, though as here he seems to somehow be channelling the spirit of David Bowie circa the mid-90s, around the time when he was touring with Nine Inch Nails in the US to promote the ‘Outside’ album. It certainly raised my expectations of what ‘A Crash Course In Catastrophe’ might offer as an album, but in reality, a few listens into the full affair (and it will take a few listens), it’s blown those expectations straight out of the water.
Granted the album starts with a cover, but it’s the band’s take on Sparks fantastic ‘Number One Song In Heaven’, and given Connely’s experience of working with Al Jourgensen (who himself loves a great cover) it comes complete with a semi-gothic remodelling that would be an immediate Batcave dancefloor fave, if the place still existed that is.
It’s when ‘Where The Wolves’ raises its head and Connely howls at the moon that the album really takes off though. It kind of reminds me of Godhead, a long-lost band from the nu-metal age who once toured the UK with Marilyn Manson, and talking of the God of Fuck there is even an element of Mr Warner himself that is festering under the skin of ‘Knife Without Asking’, it’s heavy as hell, but heavy in that Killing Joke sense.
Following ‘Zodiac Morals’ we then have the album’s second cover, and this time around it’s their take on Animotion’s ‘Obsession’. Originally penned by rock ‘n’ roll aristocrat Michael Des Barres I’m sure he would raise a wry smile at this almost modern-day Numan-esque take of his 80s synth pop anthem, one that comes complete with Ashley Bad playing the part of a gothic Astrid Plane to absolute perfection.
From here on in its Sevendials’ originals all the way, and from ‘Before You Make Your Distance’ to album closer ‘Weathervane Days’ that shadow of mid 90s Bowie is something that is cast long. It’s one of my favourite eras of The Thin White Duke, but here unlike say with Gyasi where the influence is much more obvious, with the likes of ‘Whispering Wand’ and a stuttering steampunk rhythmic quality at its heart it’s Connely’s excellent vocals that once again get me thinking of Mr Jones in all of his ‘Outside’ era glory.
There’s not a weak song on ‘A Crash Course In Catastrophe’, in fact it’s a record that gets stronger the more you play it and the further you get into it as the NIN tinged ‘Corrupted Verse’ and yup, Bowie-esque ‘Too High To Live’ soon prove.
Mark Gemini Thwaite’s production on ‘A Crash Course In Catastrophe’ is as dark and dangerous as the 19th Century London area from which the band’s name is taken and having last seen the guitarist playing with Peter Murphy at Rebellion Festival many many (full) moons ago I do have to wonder what the chances are of Sevendials taking this record out on the road? It’s a shame that the Forever Now festival hasn’t got space for the trio, it’s an event almost purpose-built for their sound.
‘A Crash Course In Catastrophe’ is released on 11th of April 2025 on Cadiz Music/Creation Youth Music (a new label collaboration between Killing Joke bassist Youth and Alan McGee), and you can secure your copy from the weblinks below.
Author: Johnny Hayward
Recent Comments