Switchblade Symphony

 


 

written by Robert

(Robert's Rating: 5)

So right now you’re saying to yourself “Switchblade who? A 5??”  You read correctly.  They are commonly associated with the Goth scene but even there they are not on the forefront (like Bauhaus or Sisters of Mercy).  This is because they emerged in 1989 and only released three official albums.  After that they split up and people kind of forgot that they existed. 

Well, not exactly, but let’s get on with the band and why they are important to me.  First of all the band is basically Tina Root on vocals and Susan Ward on Keyboards, they had guitarists and drummers but they all kind of came and went.  Also, I wouldn’t be so quick to label them as a “Goth” band – which isn’t a bad thing – but it seems to limit what their music actually is.  On their website their music is described as “dreamy, dark visual imagery, the poetry of alienation, and the timeless romance and grandeur of classical and theatrical styles of music, layered over dynamic heavy beat industrial and lush electronica to create a unique and vivid auditory tapestry.”  All of this sounds pretty gothy but it still doesn’t exactly convey what Switchblade Symphony is.  Tina Root, the lead singer, is an opera singer (or used to be) so she has an amazing voice.  Let me reiterate this, Tina Root has a PHENOMENAL voice. Often she uses her voice as just another instrument against the backdrop of synthesizers and electronics – which are most often perfect.  Sure, there are many bands LIKE Switchblade, but they actually do it the best.  That’s because they’re not interested like so many regular Goth bands to hold up an image or sing usual Goth lyrics.  They take dark, classical elements, but add laughter and bubbly innocence to the whole thing.  You can tell they’re having fun.  But shhhh, they’re supposed to be Goth.

This is why they are unique and I love them.  Imagine if you were to put industrial sounds, classical sounds, heavy beats, an opera singer, dolls (for the childlike aspect), electronics, echoing wails, trip-hop bass, turntables, and eclectic guitar in a blender and then see what comes out.  It would be no different than the music of Switchblade.  Their music just radiates “experimental” which is difficult for a band trying to do when they are trying to build a fan base. Most bands first generate catchy poppy songs first and then start experimenting (See The Beatles). Their early success and popularity in the scene when they started was definitely prominent and they were opening for bands like Sisters of Mercy and Christian Death after their first album.  Their first album was also the best selling freshman act on Cleopatra (THE Goth label) ever.

So why, if they are so good at making music, would they try to appeal to the Goth scene to begin with?  Why not just clean up their image (they dressed up as dolls for their shows – no joke) and try to mass market it?  Create music to sell records and make money?  Because damnit, that’s not what making good music is about.  These girls have repeatedly stated that they enjoy the Goth scene because it allows them to be close to their fans.  Tina once said in an interview “I find that the gothic scene has a lot of class. They're very well read. The scene is really into fine art. They appreciate their art, and they're extremely loyal…” And Switchblade’s music is exactly that, art.  If you read any interview by these girls it just puts a smile on your face.  They are so honest and genuine with their purpose that it’s refreshing to see musicians creating music for the sake of creating good music – not just to sell.  And the two girls together have such amazing chemistry that the music just feels RIGHT.  To many, they are the perfect blend between gothic and industrial music, but to stop there is strongly limiting what their music actually is.  This is why I still listen to these albums in their entirety ALL THE TIME after years of listening to them.  It simply cannot get old.  So if you wish to stay with your humble collection of music grooving to the same old records, I’m not going to be the one to stop you.  But if you’re feeling like you want to hear something that hasn’t really been done (at least not well) then check out one of their albums, you just might be pleasantly surprised.

 

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