Ahab Rex linchpin Ivan (no surnames here, we’re being mysterious) also currently operates as one half of Chicago bass-and-drums duo Mr. Russia and this second album under his primary alias in many ways represents a complete re-recording of his debut “Rolling With The Ahab Rex Quintet’s (also recently released through Lens). While the lion’ share of that aforementioned release’ tracklisting appears here along with a number of new tracks, Ivan has clearly used the opportunities afforded by his signing to bring his productions to a considerably higher level of vividness, meaning that “Blood On Blonde’ is many ways best taken in as a completely new record.
What’s also particularly apparent is the manner in which Ahab Rex has expanded along the way from being Ivan’ solo project to becoming a full-fledged band, the co-conspirators here including mainstay backing vocalist Brooke Cassell and Galapagos 4 drummer Dylan Ryan, as well as Chicago Wax Trax almuni Chris Connelly (Revolting Cocks) and Martin Atkins (Ministry / Pigface). While the presence of those two latter names would seem to suggest a leaning towards electro-industrial sounds, much of “Blood On Blonde’ instead veers towards accessible indie rock not completely dissimilar to the likes of Garbage, though there’ a distinctly debauched goth sensibility on board that calls to mind J.G. “Foetus’ Thirlwell’ dingy-bar noir.
Opening track “Ordinary Things’ easily represents one of the most radio-friendly, hook-laden moments on offer here, with Martin Atkins adding his trademark hefty drumming to a quiet-loud chorus / verse indie-rock track that carries more than a hint of Veruca Salt, Chris Connelly’ distinctive Scots-accented bellow adding a fantastic raucous edge to the “It’s the ordinary things that I see” chorus. From there, “The Queen Of Softcore’ takes things down into something more reminiscent of one of The Pixies’ Kim Deal-led excursions, angular swathes of guitar jarring against a sinuous bass figure and Atkins’ swinging cymbals as Cassell’ sweet backing harmonies deflect off Ivan’ husky-sounding growl. “To Whom It May Concern’ meanwhile calls to mind some twisted fusion of Foetus’ gothy misanthropy and Buck 65′ dusty hiphop beats, with Ivan half growling, half rapping over a backdrop of fat snapping breaks as bleeping synths slide against manipulated vinyl samples, before “Undertow No.5′ unleashes a blizzard of effects-heavy vocals and buzzsaw guitar attack that’s perhaps a closer cousin to the likes of Marilyn Manson.
The aforementioned comparisons to Foetus are particularly apparent on the jazz-noir tinged “Dope Sick’, which marries queasy-sounding clarinets and viola to Ivan’ Tom Waits-esque barfly growl as he traverses some typically seedy underbelly-obsessed lyrical territory; while it’s certainly easy to spot the influences, it ends up being one of the most inspired moments here. Finally, there’ also a couple of remixes included here to round things off, the first, from Martin Atkins alongside Hate Department’s Steven Seibold injecting an industrial rock edge with juddering bass-heavy synths wandering alongside heavy drum loops, while The Assassins’ contribution unfortunately represents a distinctly forgettable slice of dated-sounding Euro-trance that’s best skipped over in favour of the far stronger moments here. Not a bad offering at all; “Blood On Blonde’ contains more than its fair share of seedy goth-pop thrills, and it’s also kind of nice to know that this sort of music is still coming out of Chicago – I get the feeling the Wax Trax fellas would be pleased.
Chris Downton
