Scorn: Cafe Mor Review

This  ended up being much shorter than I thought it would.

A lot of stuff ended up being compressed, but I feel as though I could’ve said much more about the album. This feels a little too much like a summary, though I do think I did alright in making the summary succinct and descriptive.

Along with most of my review and interview work, this review is also on Culture Eater.
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We’re looking at what we can give to supporters as we don’t want to set up a one way relationship, so suggestions are welcome. Podcast Eater is one of the things we’ve got going. We’ve recently switch to weekly releases and soon will be giving the patrons a bit more.

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Anyway, I hope you enjoy.

On Scorn’s Cafe Mor a lot of the material seems to blend into each other… at first. It can be a number of listens before the tracks reveal themselves as separate from each other as this is a slow-burning record. It’s almost as though Mick Harris was looking to sketch out something in a few different ways.

The soundscapes are quite dry and sparse in feel, but rich in sound. There’s plenty of auxiliary sounds; some piercing, and some low and elongated, among others. Beats stay simple-sounding but hold a strong impact through their steady and precise punctuation.

A sense of menace comes through and the more the minimal feel of the songs begets the brooding, almost dread-like atmosphere. There’s an aggression there that seems almost inherent to the songs, but it’s not willing to be in your face. The songs stretch out and transform slowly, letting the mood build rather than shoving it in your ears.

There’s a little bit more dub on Cafe Mor than a few of Scorn’s past releases. Often it’s weaving throughout the main body of a song, though sometimes it’ll be right at the forefront, if only for a brief moment. The dub elements make for a snug fit in the Scorn palette; It’s there, it’s noticeable, but its worked into the songs and not the other way around. As such, it often enhances the music’s atmosphere as it’s something else to build off of.

Jason Williamson’s appearance on “Talk Whiff” works really well. He starts off deceptively mundane, but as the song progresses his words gain a sort of uncomfortable, frustrated feel. It’s likely due to the song’s eeriness and the way Jason uses his pitch which makes for a highly effective combination.

Mick Harris didn’t need to bring back Scorn; well, maybe he felt he did. I don’t know. Either way, whilst Feather announced the return, Cafe Mor justifies it. It’s an album both new and familiar, and like many Scorn releases it has a strong sense of atmosphere and identity. It’s sleek, flows well and stays consistent throughout. The guest appearance from James Williamson fits right in with everything else, and whilst minimal, overall the album is rich and full in sound. It’s a welcome addition to Mick Harris’ work.

Cafe Mor is available here.

About Stupidity Hole

I'm some guy that does stuff. Hoping to one day fill the internet with enough insane ramblings to impress a cannibal rat ship. I do more than I probably should. I have a page called MS Paint Masterpieces that you may be interested in checking out. I also co-run Culture Eater, an online zine for covering the arts among other things. We're on Patreon!
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