This album explores memory for its theme. Dementia being a terrifying thief of personality and experience that is affecting more and more of our aging population in the West.
It is somewhat ironic that I had forgotten, until I searched for this album in my media database, that I also possess Thief’s 2021 album “The 16 Deaths of My Master” which I then discover I reviewed for this very site (6/10 apparently). In my review of that collection, I bemoaned the lack of editing and quality control, feeling that the 16 tracks were a little over stuffed into the release. There are a more manageable 12 in “Bleed. Memory” .
The influences remain the same with 90’s nostalgia still at the forefront of Dylan Neal’s influences. Smatterings of Mr Reznor and Marilyn Manson throw shapes next to Filter, Depeche Mode and UK trip hop and D’n’B.
It’s “dark” electronica with moody atmosphere and lots of eyeliner – music for mall goths that have grown up but still keep hold of their stripy long gloves and nu rocks for weekends.
That sounds dismissive but let me swerve on this road to piss-take. The music is good – real good – to steal from the Warriors. Like that movie this has a gritty urban feel but with PG sensibilities.
Opener “Apparitions” trip hops along nicely with some harpsichord melodies and a moody synth that sounds like it is lifted from late 70’s cinema whilst “Cinderland” is delightfully moody – I can imagine this being Chino Moreno’s inner soundtrack and the off kilter break beat gives the track a soupcon of mania. When things slow down there is a sense of religious euphoria – I await a rapture but none comes.
Instead a timpani backed Mortiis scented late 90’s industrial light ditty by the name of “Paramnesia” appears rather than Seraphim. It has me throwing small shapes in my living room – tiny .22 calibre lazers.
After a fairly chilled beginning things get a little more spiky and rubber clad with the Manson/Reznor influence on the shiny sleeve of “Pneuma Enthusiastikon” The track seems to run out of steam and ideas midway through – I was waiting for a big drop or a big hooky vocal – it never came. It reminded why I always preferred Jungle over low key D n B – no pay off – like edging for your ears.
“Prankquean” has a Strange Days vibe – which is something I mentioned in my review of Thief’s previous album. I get a sensation of floating through subterranean tubes – PS2 game vibes.
This mixes in with lo fi Dungeon Synth and a charcoal smudge of darkwave on “Dead Coyote Dreams”. Fantastic synth hook on this track and a lovely little drum turnaround too. Things stay dark with the title track which throws in some elements of Dream Pop and more synth harpsichord for that Tudor touch. The drum beat has got a tricksy little two step danceability to it.
I know it is hard to talk about anything Morrisey related in 2024 as he has metamorphosed into a reactionary bigoted twat but I cannot get away from the fact that the vocals at the beginning of “Dulcinea” take me straight to the outro of the brilliant “Some Girls are Bigger than Others “ (Send me the pillow – the one that you dream on ) .
These laid back languishing in the mix vox are oozed over by some airy dream pop and a perky beat. Gregorian chant meets Peter Murphy next on “Behemouth” – yeah you heard me right. Alongside those two vocal styles the music hits a heavy new Numan vibe – dust and mechanical limbs if you know what I mean. There follows an instrumental interlude “Hexproof” which is reminiscent of a gong sound bath in suspended animation whilst “Pissing” mixes in the chant with a nice funky breakbeat and a light clean vocal. A track to drift and dream to despite the subject matter. I get a bit of a Clannad vibe from it!
With a subject matter like Dementia the ending was always going to be sombre. “To Whom It May Concern” is the send off to the person decimated by the condition. I am listening to it whilst looking at the cover artwork – a portrait of a person in oils where only their eyes remain untouched by the smear of oils as their memories and personality melt away from them.
An outro in 50’s B movie style reminds us to prepare ourselves for our own ending.
A very sombre exit from an interesting album. Some very interesting and engaging tracks and passages, well worth a listen despite the couple of skippers.
(6.5/10 Matt Mason)
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