21 May, 2013 in Music Reviews
Helldorado take the filthy spirit of Nick Cave and use it to provide the soundtrack to your personal Tarantino film
n Nick Cave’s biography Bad Seed he recounts a night when he and Birthday Party bandmate Tracy Pew drove, plastered on the devil’s finest liquor, felt compelled to lean out of the sunroof. Loose roads and loose driving contrived to injure him. It sounded not unlike one of the more sedate moments in a Tarantino film… and not unlike the sound that emanates from Norway’s Helldorado.
Hellodorado have, in fact, been likened before to Nick Cave soundtracking a Quentin Tarantino film. Throw in a dash of Kings of Leon accessibility and the swagger of Rocket From The Crypt and the description of their album Bones In The Closet is apt; they are replete with reckless abandonment, with seedy undertones, yet have songs that worm their way into your mind.
It is, though, the sense that they are soundtracking your own Tarantino film that resonates strongest. At various moments Django Unchained and Kill Bill flash before your eyes, leaving your mind to weave its own plotlines and conclusions. This is one of Bones In The Closet‘s greatest qualities: it sounds familiar, it is familiar yet it’s oh so personal, as if they are soundtracking your life – but a much cooler version of it, one where you get to play The Bride or Django, not just watch them from the comfort of your chair.
Standout tracks on Bones In The Closet include Misery And Woe, with its disarmingly Neutral Milk Hotel-esque horn section, the John Spencer Blues Explosion-inspired Dead World and the effervescent Please Come Back.
As influences go, Nick Cave is a fine place to begin – vocalist Dag Sindre’s lungs even have the echo of the Australian Elvis himself,. Let’s hope they can continue to ride on the wave of sleaze, hedonism and darkness that has powered Cave throughout his career.
Verdict: Seedy, hedonistic and catchy enough to glue itself into your ears