Sometimes Brass Box’s album The Cathedral – streaming at Bandcamp – totally nails a David Lynch soundtrack atmosphere. Other times the group totally nail a dark 80s new wave sound. Either way, their songs are catchy and tightly focused, frontwoman/bassist Ammo Bankoff channeling clear-eyed abandonment and despondency over the chilly echo and swirl.
The album opens with the title track, a mutedly galloping Pink Floyd Run Like Hell riff anchoring Neil Popkin and Matt Bennett’s broodingly echoey mix of guitars that explode in a ringing dreampop vortex on the chorus, Bankoff’s searching, anxious vocals awash in the icy mist.
With its resonant, reverberating deep-space sonics and wistful, starry backdrop, the second track, DDM could be the Lost Patrol. Surrender is not the Cheap Trick teen-rebellion anthem but a dead ringer for Siouxsie & the Banshees circa 1982, right down to the watery chorus-box guitar and prominent bass.
They follow the atmospheric, enveloping goth rock tune Latency with the allusively catchy Waves, which rise to some gorgeously Eastern European-tinged vocal harmonies on the chorus. Then they hit a steady, fast new wave groove with Towne, the album’s hardest-rocking track.
The record’s slowest track, Roses, comes across as a dreampop update on the more skeletal material on Unknown Pleasure-era Joy Division. The band go back to Lynchian/dreampop mashup mode with Ivory Skies and close the album with Parting Ways, a song they should have parted with prior to sequencing the record. On one hand, all the sounds that Brass Box evoke have been around for decades. On the other, nobody has figured out how to blend them quite like this.