“I’ve been a bit late in reviewing this album – it’s been in my car for the last month, and I forgot that it needed reviewing. I’ve been busy listening to it, and as it’s so easy to like, that’s why it’s stayed in the CD player in my car for so long… So that should give you some sort of heads up on this release.
Return Without Gosub are a Spanish EBM/Electro/Goth band – their words not mine, but the music does have some Mediterranean feel to it, and I’d have to
agree with the way they have labelled themselves. This is a fully electronic album, but with dark overtones, and a pounding EBM beat. From the off (track one – ‘Sheroine’), the male vocals coupled with a dynamic and rolling sound entice you in, and invite you to stay the course of the album.
The second track, ‘Vampire’, relies on electronic vocal distortion, and this creates a very ‘cyber’ feel to the track, if not, then a very close resemblance to mainstream club culture. ‘Obsession’ picks up the beat – a pounding Industrial number, dealing with the animal instinct within us more. Listen out for the distinctive sample and you’ll see what I mean. The Goth/EBM theme continues throughout the album, until we hit track 7, ‘embryo state’, which really is the dirtiest and noisiest track here.
Frantic, with dirty guitars and pounding beats, this really is good stuff.
Every album should have an ‘odd’ track on it in my mind, and RWG give us ‘homage to Bjork’, which is a tad ‘out there’, in terms of structure and direction. This is very odd, and almost out of character with the rest of the album.
But it’s not all fast paced EBM and rolling loops, as can be heard on the ballad-esque ‘Overside’, a passionate and melodious track, brimming with outpourings of emotion. Very powerful, lyrically at least. Female singing comes to the fore on the opening for the track ‘Psycho Lover’ – and it’s here in my mind that the album steps out of the Electro/EBM/Goth framework, and into the mainstream dance scene. Even with the male vocals taking over later on, this track has ‘mainstream’ written all over it.
The same can be said for ‘Euphoria’ –another 70’s inspired disco/funk affair brought screaming into the 90’s dance scene. A good track, but not in this scene. Sorry, this kills the work already done by the preceding tracks. The last two tracks are mixes – ‘Lying Girl’ and ‘Vampire’ – both very good, but seem to be the original tracks with some more electric beeps and loops. Nothing to overly set the world on fire here.
If you ignore the two dance inspired tracks, this is a very good album, but the inclusion of material that does not fit the scene for which this album was aimed at, kill it, and make it incomplete. This is a shame as there’s some good stuff on here, and if RWG can re-focus a little on their direction, then they have the makings of a great band.”