The year is 2007. Dog Fashion Disco call it quits.
But out from the ashes something crawls, twists, hiccups then howls in fury. A new beast is born and some might even say it’s wearing eerily similar skin from the that which it was birthed.
Whatever your opinion, Polkadot Cadaver have proven they’re sticking around for the long haul, regardless of varied lineup changes, albeit with a discography that’s rather sparse, all the while defiantly raising their finger to any and all semblance of genre conformity.
So. What’s in a name?
It’s odd. I’ll give you that!
The word ‘Cadaver’ gives off a slight grotesque vibe. But it isn’t as blunt, or as brutal a descriptive word, as say, Corpse or Zombie. These words as part of a moniker invoke thoughts of more an act prevalent in the death or thrash arena. Most certainly an active form in the horror realm. Be it one traipsing around in a sluggish manner with an insatiable flesh rendering urge or another kind that does the unconscious bidding of a practitioner of the Dark Arts (see White Zombie and more recently Wes Cravens The Serpent and the Rainbow).
A slew of Zombie film images, and why not?
The word ‘Cadaver’ is a touch more scientific leaving much more open for suggestion. In regards to ‘Polkadot’, this makes me think of clowns (not the menacing blood thirsty kind portrayed in Terrifier or 100 Tears), a carnival in full effect, fun, party hats and of a musical outfit which might not quite be so serious, one that’s a tad outrageous perhaps? Humor obviously plays a part in the big picture somewhere, especially when you place both words together. Is this an undead form which sports colorful attire? Was he/she caught up in an untimely demise either to or from Coachella? The mind reels with the possibilities. Although one thing is, without a doubt, beyond discussion… Polkadot Cadaver are unique, much as the moniker suggests, and unquestionably unpredictable in the direction their musical style meanders.
I think you’ll agree we don’t meander anyplace!
Purgatory Dance Party was the bands first full length on the Rotten Records label. Released in 2007 it introduced the bands style, drive and willingness to experiment much like the act that which they arose from the ashes of. Sex Offender (also on Rotten Records) was next up and followed a 7″ split (Wolf in Jesus Skin/Wolfs Head). It met with critical acclaim, peaking at 17 on the “Heatseeker” charts there was no doubt that they had an audience but where to next?
2013 was a busy year for the band. They switched labels (moving to Razor to Wrist Records), released a full length based on the Jonestown Massacre, Last Call to Jonestown, and a Holiday themed EP, From Bethlehem to Oblivion, which is, not too surprisingly, hardly family oriented in the slightest. A track from which brings me to the reason for scribbling this. You Don’t Deserve a Goddamn Thing for Christmas is chock full of clever lyrics and an acoustic melody which is hard not to like, elements that combine to form an Xmas song I can’t resist and I generally dislike much everything to do with the season. Featuring in the end credits of Lifechanger (directed by Justin McConnell) it exquisitely tops off a thought provoking viewing experience, drenched in immortal, supernatural and (get this) “shapeshifter” themes which is absolutely not to be missed.
A movie that warrants attention
Get Possessed was released in November of 2017 and is Polkadot Cadavers latest. Bearing cheeky vivid cover art, including a Ouija board and a green preacher, it leaves little to the imagination as what to expect. Regardless, this is Polkadot Cadaver album, I’ll guarantee there’s at least a landslide of surprises in store.
Their latest offering of audio insanity
The album commences with synth the likes of which Goblin are famous for and that which made a slew of Italian cult films in the late 70’s and early 80’s, bordering on unwatchable, that much easier to digest. ‘Dead Beats’ soon changes its feel to incorporate more an infectious drum salvo, piano tinkering and a hypnotic sway quality that’s difficult not to bobble your head to (and I didn’t say Funky Pops! I am amazed – whoops!). Guitar adds to the mix soon enough to make for an exciting opener to leave any long-time listener salivating for more and virgins to the style colored with intrigue.
‘Couldn’t Move Far Enough Away’ bears an introductory Mutoid Man guitar riff assault and leads the listener into a lyrical assault which is poetic and quite brilliantly, a staple of the band to be sure. An early standout that’s difficult to categorize even easier to let just wash over the senses.
‘Powder Pink Baby Coffin’ sees synth collide with stabbing guitar riffs and an alternate edge. The lyrics, again, are of a mesmerizing nature and I’m left jerking around saturated in spastic movements like someone desperately in need of medication.
Up next, ‘Robot Assisted Suicide’ sports a cosmic dreaminess, rhythms, as the track suggests, more robotic in nature.
I would class this as a pallet cleanser but seems as most Polkadot Cadaver tracks could be deemed the same I’ll not bother.
The title track ‘Get Possessed’ bolts from the starting block with an Anthrax type pace, a bouncing rhythm, guaranteed to get the heartbeat spiking. As it progresses more a Ministry vibe comes to the fore to keep the blood pumping at dangerously excited levels.
Another standout nestled among tracks of an exquisite quality that’s hard to deny.
‘Stewards of a Syphilitic Emperor’ sees punk and hardcore values checked off the styles not yet covered. This however, doesn’t last long as much like the remainder of the album stagnant is not an adjective that’s been laid out a welcome mat for.
Stagnant nor predictable, much like this car and picture
‘Skin in the Game’ towards the albums finale is another standout. Utilizing melodic riffs, of definite thrash leanings, and keyboard melodies it takes the listener on a wild ride devoid of land marks, mileage signs and anything that might indicate a Final Destination. (Hooray for me, I managed to slyly maneuver a movie title into the ‘music review mix’).
The final track to caress the ears sounds more like a frat party initiation ‘Gasoline Enema, Bend and Light’. Slightly chaotic in tone and feel it stylistically places the proverbial cork in the bottle closing off an album that’s wildly off the beaten track, expertly composed and a virtual delight for the senses to devour.
The second Acid Bath album, though both demand attention.
I’m hitting play again, did I mention I liked this?
Recommended for fans of vintage Faith no More, Mr. Bungle, Mutoid Man and Acid Bath.
Be prepared to widen your musical listening horizons. Genre definitions be damned!!
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