of those releases that is easy to overlook on first listen, because of its minimalist,
low-fi approach and singer/songwriter Steve Beyerink's Lou Reed Indian-chant atonal
vocals. Beyerink is weird, there's no denying it. And so is this music. It's the
perfect soundtrack for the Charlie Manson psycho-killer in all of us. Songs like
the early-Velvet's influenced rockers "There Is No Other Possible Way"
and "White Gold" are true finds, while the off-kilter piano and drum-machine
rant "10,000 Romances," with its odd broken rhythms, will have you pounding
the top of your CD player. Then there are the "graters" (as in grating)
-- the tracks that are sure to frighten and annoy your friends and neighbors.
Slaughter-film theme song "Madeira" and the 5-plus-minute "Whorehouse
Blues" leave a slightly nauseous tension in your gut, which I'm sure was
no denying Beyerink's vocals are an impossible-to-acquire taste that permeates
everything on Ruhr. Still, it wouldn't be the same without them because
no other voice could capture his lyric's adolescent-minded honesty. This isn't
homemade emo poetry sung by a tortured art-school kid, it's homemade emo poetry
sung by the loner who hung out in shop class. You won't reach for this more than
a couple times, but it's an achievement nonetheless.
Posted May 10,
2004. Copyright © 2004 Tim McMahan. All rights reserved.
is weird, there's no denying it. And so is this music."|