Psykobilly has stated that they “don’t like to be pigeonholed into one genre”, to which I say it would be almost impossible to do so. From electro to punk-rock and post-punk pop, Psykobilly aims to keep listeners on their toes, not being able to predict the band’s next move.

The extent of their impressively dynamic instrumental range can be seen in the album’s first song “Lose Your Self”, a gothic symphony of electro-style production and a melancholic vocal performance that reflects the nihilism of punk rock.

Just when the listener feels like they’ve sussed out the song, it then violently swerves into a more metal-inspired production that purposely knocks the listener’s ears and comfortability for six.

The album isn’t all hardcore though despite what the opener suggests, for the most part, it has a production and songwriting style more akin to New Wave or alternative pop, creating a surreal, slightly emo atmosphere similar to that of The Smiths’ third album “The Queen Is Dead”.

“Someone” is a good example of this strange yet unique style that feels distinctly 80’s inspired. The blaring synths and crooning female vocals feel like eery synth pop for psychiatric patients, following the album’s horror/gothic aesthetic.

“Emotional Athlete” gives off a similar feeling, however in the form of a hyper-hypnotic mantra, like being trapped under the spell of a toxic lover. The vocals feel like something straight out of a Depeche Mode song, drowned in an echoey robotic filter that makes the song feel simultaneously futuristic and familiar.

However, experimental creativity does come with the risk of missing the mark and Psykobilly does end up doing that on a few songs.

“F.U.N” is an awkward and poorly timed follow-up to “Lose Your Self”, with an out-and-out pop approach and softer soundscape, the transition is quite jarring and left me personally confused at its placement.

“What’s Going Down” is another song that I feel interrupts the momentum of the album and feels too out of place with the album’s soundscape and theme. The lyrics feel a little too simplistic and stereotypically pop-friendly to make any real performative impact.

READ: Psykobilly – Blood to Spill (Single Review)

Once Again, it’s a song that I feel will leave the listener scratching their heads and not in the best way.

I understand that the band’s idea might have been to use these songs as a gateway to transition into the album’s poppier side after the strong showcase of rock on “Lose Your Self”, however, it fails to feel smooth or well-paced.

 After these two songs, however, the album does get back on track and stays on a steady consistent thematic path until the ending track “Theme for Lost Doll…”, a purely instrumental track that serves as a dark horrorcore ambience that leaves the project on a note of sinister eeriness.

Score/Good: Although it is sometimes to their own detriment, Psykobilly takes creative risks on their album and continues to follow their ethos of not sticking to any one genre. Whilst some songs are hit or miss, others have truly impressive production and inventive genre-bending that does pay off.

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[We rank albums on a scale of: Poor, Mediocre, Good, Excellent, Outstanding].

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90s rock and dark rock ‘n’ roll come hand-in-hand concerning forging a timeless inauthenticity. I’m pretty sure the political and socio-economic factors of the late 80s bled into the 90s in the formation of grunge, but circumstances wrap themselves in authentic expression. And that’s how you set yourself for a genre prone to revival, and resurgence, in any period.

In this review, we will analyse ‘Blood to Spill’ by Psykobilly. Psykobilly are a UK-based ensemble featuring Isobelle Sorrell (writer, vocals), Phil Sorrell (writer, multi-instrumentalist, producer), and Bill Newton (writer, vocals, guitar). Their sound is an eclectic mix of dark electro-pop, dark ballads, and dark rock ‘n’ roll. This new single comes after previous releases, such as the albums ‘Patron Saint Of Nothing’ and ‘i hate psykobilly vol.1’

Within the first few seconds, the 90s influence is undeniable to the trained ear. The pan-flutes, in the beginning, pay an almost unexpected homage to the ethno-pop/’world music’ boom around the same period grunge was flourishing. Life is filled with juxtaposition, and good art juxtaposes- ala Salvador Dali. It almost reminds me of ‘Deep Forest’s compositions.

The main vocalist has a strong, and commanding voice that’s also combined with a style of singing that’s emotionally drained, yet monotone-esque. It reminds me of the vocalist from Blutengel, or even Dave Gahan’s vocal techniques. 

The guitars in the background give off a 90s, ‘serious’ flange and flair, usually adopted in the soundtracks of certain shows such as the background track of ‘Unsolved Mysteries’. The steady beat from the drum carries a steadfast tempo throughout the song, while the bass guitar shines. The bass guitar provides the song with enough groove and direction, while also supporting the rest of the instruments.

The background vocalist gives me a kind of Courtney Love or Kim Gordon feel, in the sense that her voice is distinctly contrasted with the main vocalist and gives off a completely different tone. It provides a song with a second emotional tone, one of angst and a slight annoyance which fits the tone of the lyrics. However, to my ear, I don’t know if it completely matches the main vocalist. That is a matter of personal taste though, as I understand the concept entirely.

The chorus gives more leeway for the background vocalist to shine, as it focuses on contrasting harmonies instead of merely echoed melodies. It then morphs into a beautiful, yet dark kaleidoscope of guitar riffs as well as drums. I presume a ‘watery’-sounding pad is added to one of the guitars as well, giving the song the edge it needs to pay homage to 90s rock and roll. 

The ending then enters in a steadfast staccato, which gives the song back its initial edge and saves it from being lost in the choral kaleidoscope. I found it ingenious. 

All in all, I think the song is decent. The minus points of this song to me, are the lack of unique and unpredictable chord changes or melodic diversity, as well as certain aspects of the backing vocalist in the pre-chorus. The song structure from pre-chorus to chorus seems a little rushed and disjointed in terms of emotional tone, but it gives it a 90s flair, so that might just be my subjective preference. I think the slight technological aspects of this song as well as the main vocalist’s vocals, as well as the addition of the pan flutes, are the plus points.

Rating/Good  – ‘Blood to Spill’ is a good song in terms of providing the listener with a ‘blast from the past’ when one yearns for the authentic, yet steadfast sound of the 90s- as well as innovative genre-bending. 

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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