Review: Julie Christmas ‘Ridiculous And Full Of Blood’
I first became aware of the unique talent that is Julie Christmas through her collaboration with Cult Of Luna on their 2016 Mariner album; a jaw-dropping and far-reaching collection of tunes that dovetailed the angelic and unhinged tones of Christmas with the Swedish post-metal powerhouse’s abrasive, hardcore that instantly became my favourite album of the year.
Before that Christmas cut her teeth in the Neurot-endorsed sludge/noise rock band Made Out Of Babies and later the short-lived post-metal act Battle Of Mice featuring ex-Neurosis man Josh Graham.
However, in 2010 the Brooklyn native (born on the 25th of December) sought to distinguish herself from the heavier projects she had been a part of by releasing her debut solo album, The Bad Wife. Sonically, it may not have delivered the same heavyweight punishment but, as stated in a review by Cowbell, Christmas ‘traded heavy for harrowing’. The emotional gravitas contained within was suffocating as the sense of violence spiralling out of control is articulated in moments of anguish, sorrow, anger and hopelessness that delivered ‘with the finesse of a train wreck’.
It would take fourteen years to craft the follow-up, Ridiculous And Full Of Blood, but it has been more than worth the wait. Harnessing the considerable talents of guitarist/vocalist Johannes Persson (Cult of Luna), drummer Chris Enriquez (Spotlights), bassist/producer Andrew Schneider (KEN Mode/Unsane), guitarist John LaMacchia (Candiria) and keyboardist Tom Tierney, the singer has looked to create an album that spans her influences from alt-pop, noise-rock and post-metal to the avant-garde. The blurry photo that adorns the cover with her smiling lower face covered in what could be smeared blood, immediately unsettling and radiates the air of chaotic danger that permeates the record.
Clattering stick percussion and eery, screeching, sawing notes open Not Enough until that unique voice starts. Childlike and unhinged, Christmas spits and whispers dark lyrics like ‘I have yet begun to defile myself’ as the tension rises. The track feels on a knife edge, and when you think it is going to explode, it swerves and it collapses back on itself. When it finally let’s go into the fuller sound with deep chugs, Christmas’ voice is multilayered with different pitches that sound like duelling split personalities raging, snarling and shrieking.
Supernatural in comparison is a saccharine, indie-style piece of calm to start, built around a fascination with birds, it has deep, rich grooves and measured vocals that match the epic sweep of the music. (Super)naturally there is a hint of mania in the more impassioned moments, and as the weight of the music increases, the majestic air points to the inclusion of the Cult of Luna influence with the epic, almost spaced-out feel, layers of synth adding colour to the track.
A grinding drone starts the twisted nursery rhyme-like intro to The Ash before the slow pounding percussion matches the yelling off-kilter vocals. Slow and faltering, reflecting the insecurity and vulnerability of the lyrics leads into the more post-noise, avant-garde nature of Christmas’ songwriting as she dabbles with the surreal, matching the stream of conscious-like delivery with woozy choral backing harmonies.
For existing fans, Ridiculous And Full Of Blood will delight throughout and has enough hooks to give the uninitiated a road into appreciating this special artist…
Thin Skin has a chunky, bouncing nu metal-style groove with the downtuned bass and crunch of the guitars bringing an up-tempo drive to the stripped-down verses. This clattering heavy bounce contrasts with the freeform vocals that swing wildly from brooding to hysteria in the unique style that only the singer can pull off. It made me think of Aimee Echo of 90s near rans Human Waste Project as she croons with siren-like beauty and rages like a wounded animal.
The retro sound of End Of The World with shuffling drums and layers of keyboard is tender and soft with the vocals reflecting this shift. Otherworldly and feeling imbibed with a sense of calm, the lyrics are reflective with lines like ‘I just wanted to see you again’ before the band obliterates that with the introduction of vocals from Persson. Delivering his trademark roar, they call back to the duelling styles that made Mariner such a lightning-in-the-bottle moment. As the pair trade back and forth over the lurching riffs and smash of the drums, Christmas’ voice is positively stunning when she takes full flight, delivering a measured and emotionally charged performance against the Swede’s rasping power.
Silver Tongue bristles with grime bass and stiff military-style drumming over which the creeping narrative unfolds. Working up to a frenzy, the tumbling lyrics and building dynamics continue the unsettling atmospherics that verge into atonal discord and yet manages to pull back from a complete descent into chaos. Kids by contrast has a twisted, playful feel, with light dancing electronics reminiscent of a music box and Christmas once again delivers a surreal childish inflection that is simultaneously innocent and disturbing. Rather than dissolving into a nightmare soundtrack, the band tease a triumphant, catchy swell that never quite ditches the sense of unease as it drives the narrative journey.
Moody and downbeat, The Lighthouse is a slow-burning powerhouse that sees the return of Persson’s heavyweight backing delivery to make the brooding feel all the more pronounced. Over the throbbing bass and drone of the music, the singer whispers, sings and howls through the emotional content that ensures the back end of the album never loses its intensity and this is continued by Blast, a short, industrial-flavoured slice of violent noise-rock.
Rounding out with the sprawling Seven Days, Christmas delivers a half-sung, half-spoken sign-off in delirious fashion with the music rising and falling around her, in a performance as striking and captivating as anything that has gone before.
Julie Christmas can be an acquired taste and not for the faint-hearted with her soul-bearing, authentic delivery, but possesses an incredible voice that is truly one-of-a-kind. For existing fans, Ridiculous And Full Of Blood will delight throughout and has enough hooks to give the uninitiated a road into appreciating this special artist.
Label: Red Crk Recordings
Band Links: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Mark Hunt-Bryden
