“Zerospace,” the sophomore release by Los Angeles-based rockers kidneythieves is proof of the inevitable – gothic rock is on its way out.
The fascination with the dark side of life is no stranger to popular music. Since the emergence of bands like Black Sabbath in the 1970s, and more recently the revolutionary Marilyn Manson, the mystery of death has been embraced by many young rockers hoping to score it big in an industry dominated by boy bands and teen princesses.
It was only a matter of time, however, before Sabbath’s Ozzy Osbourne decided to go mainstream and Manson went from a disgusting freak to a disgusting freak with style. Where do the kidneythieves fit in?
“Zerospace” represents the metamorphosis of a band that began in 1997 by imitating the likes of industrial experimentalists Nine Inch Nails and Filter. But while the band loosely holds on to its roots, it’s creating a newer listener-friendly sound.
The album opens with the semi-popular “Before I’m Dead,” which also is featured on the soundtrack to the film “Queen of the Damned,” the second release based on writer Anne Rice’s “Vampire Chronicles.”
But although multi-instrumentalist Bruce Sommers, a native of Cleveland, convincingly builds a wall of darkness with his musical arrangement, vocalist Free Dominguez just doesn’t fit into the mix. Her voice is – well – too pretty.
The trend continues as the album plays on. By the time the ominous beats of “Arsenal” kick in, one thinks they’re listening to an electronic version of Alanis Morissette after a few vocal lessons.
The real downfall is the dismal version of Patsy Cline’s juke-box smash “Crazy,” written by the great Willie Nelson. Granted, other bands have succeeded at recording covers of historical musical anthems but they tend to make a mockery of the original. A lesson to the kidneythieves: Leave it alone.
The record doesn’t come without its highlights, though. Although the music could have been scrapped, the provocative “Spank” is an excellent showcase for Dominguez’s voice. “Serene Dream,” a surprisingly tame ballad, also does her vocal abilities justice.
But although there are some gems tucked away here and there, the album eases back into the same rut created by “Before I’m Dead” and “Arsenal.” “Molten” and “Black Bullet,” to name a few, feature the same beautiful voice accompanied by the same raunchy instrumentation.
If Dominguez were smart, she would drop Sommers, reinvent herself and go on the road with Britney Spears. Although mainstream pop music is too commercial, sometimes annoying and very predictable, it just sounds good. Free Dominguez sounds good but the kidneythieves don’t.
