REVIEW: Catherine Wheel, Adam and Eve (Mercury)
- Joann D. Ball
Adam and Eve , the fifth offering from Catherine Wheel, can only be described as a sonic masterpiece. This 11-track cd is by far the most ambitious release that the English quartet has produced since it formed in 1990. Here they surpass the high standards set on the singles "Black Metallic" (from their debut disc Ferment ), and "Crank" (from 1993's Chrome ) - and they trade the volume and aggression of their last studio release, 1995's Happy Days, for melody, intimacy and passion. Their name taken from the cruel torture device used on St. Catherine of Alexandria of the 4th century and also the popular firework, Catherine Wheel's latest effort is more like the latter - a brilliant display of sounds which sparkle, sizzle and shine.
Clocking in at about an hour, Adam and Eve is a classic concept album which explores such human experiences as lust, temptation and nostalgia. Short transitional pieces give the collection a smooth, continuous flow which highlights the multitude of layers and textures. And the tender roughness of singer/guitarist Rob Dickinson's vocals is complemented by the skilled craftsmanship of guitarist Brian Futter, bassist Dave Hawes and drummer Neil Sims.
The disc shifts from the stark, acoustic slide-guitar of the untitled opening track into the sweeping rises and falls of "Future Boy." Dickinson's aching declaration that "Superboy is here, and it feels good to me" slides right into the lead single "Delicious." On this irresistible little treat, fuzzy guitars, pulsing bass and crashing cymbals build into crescendos, free fall and soar yet again to dizzying heights. A brief piano interlude links "Delicious" with the steady rocker "Broken Nose." A track which also has tremendous single potential, it is propelled by a solid beat under buzzing and brimming guitars.
All three of the above tracks would be stellar cuts on any other Catherine Wheel album. But here, as part of an interconnected whole, they take on an even greater quality. Less than a minute into track number five, "Phantom of the American Mother," the listener is pulled completely into Catherine Wheel's fresh musical landscape. The acoustic guitar and organ wall of sound whirls and swirls, as Dickinson pleads with a misguided soul to be honest with himself.
Whether it's the breezy, atmospheric "Ma Solituda," the lightly Sonic Youth flavored "Satellite," or the bittersweet "Goodbye," Catherine Wheel reaches an emotional depth that is seldom matched by the current crop of British or American alternabands. Leaving trends and petty feuds for lesser bands, the group has without question taken a road less traveled. Catherine Wheel has always been about the music, words, feelings and emotions that make popular music enjoyable and meaningful. And with Adam and Eve, Catherine Wheel has created a true work of art that is complex, intricate and beautifully unique.
