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Whiplash Boychild

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Reseña de álbum

With his reputation as a neo-industrial shouter long since established, Connelly went a long way toward completely confounding all expectations of him with Whiplash Boychild, a commanding and often quite surprising solo effort of equal power and delicacy. The opening track, "Daredevil," sets the pace. Connelly's commanding, Bowie-like croon — delivering either a sourly romantic lyric couched in political terms, or vice versa — soars out over an arty groove, making for a fine start. Calling Boychild Connelly's cabaret album wouldn't be that far off the mark, especially given his vocal-and-piano cover of cult crooner Scott Walker's "The Amorous Humphrey Plugg." Compared with Marc Almond's splashy theatrics, Connelly is a little more abstract and restrained, approaching his material with a certain calm. Occasionally the music is extremely avant-garde: "Ghost of a Saint" consists of a curious rhythm loop and violin, while "Confessions of the Highest Bidder" is nearly ten minutes of static, white noise, and unintelligible vocal samples. Things are mostly straightforward, though: from the clean, forceful pound of "This Edge of Midnight" and the elegant, dancefloor-pitched lead single, "Stowaway," to the minimal keyboard-and-atmospherics of "The Last of Joy" and "The Hawk, the Butcher, the Killer of Beauties." Connelly's studio band discharges its duties well — especially the rhythm section of bassist Stuart Zechman and drummer William Rieflin — while the production is remarkably clear, without ever being sterile or losing the impact of the music. Add to that the occasional off-kilter sample from unknown Spanish or French sources, and Whiplash Boychild makes for a fine solo debut.

Reseñas de usuarios

A gratifying first release

Probably more widely known from his work with Ministry and any of their 200 side projects, Connelly's solo work is a bit of a departure from the industrial genre, although there are elements of this that have remained. With a vocal style often compared to David Bowie, he does well on his own and continues to put out new music. This first release still sounds fresh, particularly in the standout tracks "Stowaway" (the song that introduced me to his solo work) and "This Edge Of Midnight". The one detraction preventing me from giving this a full five stars is the noisy experimental track "Confessions Of The Highest Bidder" - ten plus minutes of background noise and unintelligible gibbering. There are also two remixes of the aforementioned standouts. Unfortunately, the remix for "Stowaway" detracts somewhat from the original, while the remix for "This Edge Of Midnight" makes it a little more interesting. A release over twenty years old now, it is still a pretty great album that I strongly suggest be part of your collection.


Nacido(a): Glasgow, Scotland

Género: Rock

Años de actividad: '80s, '90s, '00s, '10s

While his contributions to Ministry, the Revolting Cocks, and Pigface have earned him a reputation as a ferocious industrial rocker, singer/songwriter Chris Connelly's solo career has explored softer music that's more in line with Nick Cave, David Bowie, Leonard Cohen, and the later work of Scott Walker. Born and raised in Edinburgh, Scotland, Connelly listened to the glam sounds of David Bowie, Roxy Music, and T. Rex up to the point punk exploded on the scene. When he was only 14 he joined Rigor...
Biografía completa
Whiplash Boychild, Chris Connelly
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