Climax: Why So Glum, Beastmilk?
Why so glum, Beastmilk?
You’re Finnish. You hail from the second happiest country in the world. According to the Interwebs, your Finnish womanfolk are “better looking than Danes and Swedes” (when they’re not “obese”).
But no. You wallow. Your guitars drone. Your bass lines recall Joy Division —as does your buzzkill lyrical content (“Death Reflects Us”)
Your singalongs have names like “Genocidal Crush,” a galloping goth number that sounds akin to Danzig fronting Sisters of Mercy.
And you’re not really metal, even if the metal community has taken up your mantle. Your tempos are too slow, your singer Kvohst is too melodic, your world outlook too pessimistic without the righteous anger.
Instead, Beastmilk practices a self-proclaimed brand of “apocalyptic death-rock/post-punk”, an apt title for something that more than resembles early 80s gloom rock. It’s time to dust off those Killing Joke and Bauhaus references, for starters.
It’s not perfect. “Surf the Apocalypse” lacks the humor that its title implied: a bit more psychobilly sensibility wouldn’t have hurt. And, overall, the tracks tend to run together, with hooks moving quickly in and out, the overall dour mood oftentimes taking undue focus.
And like we said: is this all an act? Is this hipster goth, a little like She Wants Revenge was to the aughts?
We can question. Or we can just not worry about motivation. Nostalgic or not, legit sad or no, Beastmilk crafts a welcome sound, and one that could splinter in a million directions — more melodic, more goth, veered toward New Wave (a la Cold Cave, perhaps?).
Thankfully, their starting point is strong. Even if their mood is crap.