Suicide City – Frenzy

Suicide City’s latest release, Frenzy, walks an elusive line between goth-rock, horror-punk, and industrial-electronic.  Lead vocalist Karl Bernholtz sounds like a mix between obscure german horror-punkersBlood Sucking Zombies From Outer Space, Goth idol Marylyn Manson, and Interscope-era AFI.  He has a deep presence and a high pitch with a range fluctuating from growly screams to ear piercing cries.

In keeping with the horror theme, Frenzy is chalk full of eerie sounds and odd atmospheric flourishes.  For starters, the band incorporates plenty of moody synth beats and electronic noises.  Tracks like “Cutter” feature pulsing, echoic vibrations, and, at times, the droning hum of a church organ; while others like “Best Way” conclude with the haunting voice of a lone child speaking in tongues.  Many goth bands overuse atmosphere to the point where the tracks become so moody that calling them “songs” is generous.  Fortunately Suicide City uses their flourishes for enhancing their compositions, rather than making them a driving force.

Frenzy typically operates at an uncontrollable pace, but occasionally exercises restraint.  In theory these moments provide a nice break in the fifty-minute album – a time to refocus and develop further aspects of the band’s horror theme.  However, many of these tracks, including “Burn” and “Lost Years,” run well into the five-minute mark, disrupting the Frenzy’s chaotic flow.  Other slow tracks like “Undone” stay around three minutes or less which enhances rather than encumbers, Frenzy’s atmosphere.

Lyrically, the band is what it is: a band obsessed with, to quote the third track, “Sex and Dying.”  Thankfully they don’t take themselves too seriously, even making jokes at their own expense.  The aforementioned “Sex and Dying” is actually followed by a thirty-second instrumental titled “The Only Song Not About Sex And Dying.”  The band has a twisted humour about them that those with an ear for dark humour will undoubtedly appreciate.

Oddly though, as the album progresses Bernholtz scales back his horror influences in favour of a tamer feel.  It serves little purpose other than preventing the final few tracks, including “Not My Year” and “Lost Years,” from achieving the same “punch” as those opening the album – like those found on “Cutter.”

When all is said and done, Frenzy provides a safe addition to the horror-goth scene.  Those familiar with the scene will have likely experienced the playfully violent atmosphere before and likely won’t findFrenzy terribly original.  However, Suicide City has a strong command over their influences and can compete with the best of them.  I imagine Frenzy will find fans within horror genres in general, whether it be in the punk, electronic, or goth scenes.