By Deuce

Pray to the Knife, Black Bouquet’s forthcoming album that drops two days after Valentine’s day, is an unusual study in opposition. The name of the band, the artwork for the album, the title of this opus, and the images of the band members have decidedly heavy metal overtones. And, the fellas aren’t afraid to live up to that image in spurts, such as when they get to thrashing their electric guitars, electric bass, and acoustic drums in parts of the hook on “My Love”, the leadoff cut.

But other sizable facets of this release are more modern than metal, have pop overtones in places, and are accessible to a wider audience than those who wear nothing but black all day, everyday. “Love”, for example, is also characterized by soft singing, trill acoustic guitar playing, and a quiet appeal that can win over babes who don’t wear dark eyeliner.

With its slow pace and deliberate rousing antipathy on the hook, it’s one of the best numbers on the outing.

“Pendulum” also showcases the dichotomy of the band’s susceptibilities. It’s most noticeable for its almost 80’s synths and a four-on-the-floor drum pattern—played live—that’s certainly designed to move masses. The vocalist goes between a trippy voice on the verses to more uncharacteristically soft singing on the hook, with the sounds of an acoustic guitar to inspire him. With the bass line driving things along, it’s a credible follow up to “Love”.

The subversive overtones of the group and its accessible music mesh nicely on the titular cut. Despite ascribing ecclesiastical feelings to a weapon, the song has a pleasant melody on the keyboard that adorns the background like a welcome shadow in a desert oasis. This effect is played for all its worth on the verses, in which the drums are ripped out of their atypical drum pattern (and the song altogether) to emphasize this feeling. The rhythm guitar gets a starring role in this one too, making it all sound good enough to listen to again, which is the entire point of music that’s moving.