Kill Me Tomorrow

After listening to Kill Me Tomorrow the first word that popped into my mind was “different.” Their sound is an eclectic mix that is difficult to describe. Take trashy vintage sounding guitars and bass with abrasive tones, add electronic drum beats and noises, a male singer who has a goth tinged, garage rock fuzzed voice, and a dissonant female backing vocalist and you will get the strange, chaotic, and different sound of The Garbageman and the Prostitute. The songs seem to lack a traditional structure and it is impossible to predict what they will do next. If I had to label Kill Me Tomorrow’s sound I would call it electronic goth punk.

The CD packaging is also different. In place of lyrics the band has a short description of what each song is about. These brief summaries read like the synopsis on the back of movie in Blockbuster and help show the very different subject matter of Kill Me Tomorrow compositions. The song “I Require Chocolate” is described as being about, “A famous but over the hill superhero (who) is found guilty in a case concerning a series of bizarre sex crimes,” while the song “Skin’s Getting Weird” paraphrase states, “A young flesh farmer tends to his village of people, waiting for their flesh to ripen.”

As if this wasn’t enough to make their debut album stand out, Kill Me Tomorrow also includes a DVD with four music videos on it. While at some points the videos give off too much of a student film feeling they are nice bonus that allows you to delve deeper into the strange world of the band.

I’m not really sure how I feel about this album because it doesn’t sound like anything else I listen to on a regular basis. Yet I find myself listening to it again and again. What I don’t know is if it is because I don’t understand the music and am trying to make something more out it than what is there, or if it because Kill Me Tomorrow has struck onto an intriguing sound.