This compilation's subtitle, "A suicidal pop collection" raises a few

questions. Suicide and the icons of pop music have always had an edgy

relationship, but that music so unashamedly dark in sound and subject matter

could acheive the life-affirming spirit usually required of the pop genre

seems surprising. Will the songs then chart the self-inspired death of the

popular aesthetic, or merely its assimilation into the deathliest throws of

lo-fi melancholia? The minimal sleeve notes offer a little help - these are

songs to help you through the darkest hours, "Careful arms for the damaged".

The concept of "suicidal pop" as a genre is intriguing, and while it may be

offputting to some, I found myself drawn in by this collection of songs,

varied in style but consistently emotional and atmospheric.

The exclusive GNAC track which opens the compilation sets the agenda with a

synthesised baroque dirge that washes over the listener with an almost

formulaic air of melancholy. If you can take this without cringing, what

follows will reward. A quietly epic slow waltz with wispy vocals courtesy of

the Montgolfier brothers leads into two more satisfying guitar-led tracks

from Tram and Broken Dog, combining quiet droney harmony, steady rhythms and

calming sad vocals. It is this sound which dominates much of the album,

creating a sleepy downbeat ambience which can be very relaxing but also very

intense at times.

It seems a paradox that songs such as these which are often branded as

depressing can be strangely uplifting and powerful, to the right person in

the right mood. This could be held true for many of the album's 16 tracks,

which often escape the limits of minor-key melancholia to create a more

dreamy lo-fi sound reminiscent of bands like Low, for example the track

"Sorry" by For Stars. The Masters of the Hemisphere then follow this up with

some rhythmic lo-fi rock melodies that should be enough to cheer up any

suicidal case.

Alongside the more straightforward songwriting, the album's ambience is

boosted with a number of interesting instrumentals from artists such as 90

degreees south, International Airport and Valvola. More dancey atmospheric

rhythms and dreamy post-rock guitars all fit into the album's mood and

create an interesting mix. The songs still form some of the highlights of

the compilation however. Marine Research contribute a particularly nice

track, a jangly droning guitar waltz with clear vocals and a dark dreamy

feel. Another beatiful track from Melochrome combines heavenly vocals with

an echoey guitar and synth backing and more lively drumming to create a

memorable melodic interval. The Bitter Springs seem the only band on the

compilation to take the determinedly depressing sound to the point of

self-parody ("He drinks piss and he eats shit/just to prove he can stomach

it"). We are finally left with a track from Piano Magic, reminiscent of

quieter moments from Sonic Youth and Yo la tengo. "The canadian brought us

snow" combines the best of their lo-fi guitar soundscapes with dreamy vocals

and poetic lyrics, and rounds the CD off beatuifully.

Despite their absence the influence of more obvious "suicide-pop" choices

like The Cure and Joy Division is felt in many of the more downbeat dreamy

guitar sounds on the album. Rather than making the more predictable choices

however, the compiler has picked a number of smaller bands and labels which,

though quite varied would fit broadly under the lo-fi/indie bracket. As such

the compilation should prove a good starting point for those exploring the

more dreamy, melancholy side of these genres, and a good introduction to

some promising new bands for those already interested. Of course the appeal

of some of this material depends strongly on both the mood and personality

of the listener, but much of the songwriting on this compilation has an

honest beauty that breaks free from the "suicidal" bracket it is grouped

under. The compiler's intentions seem to be fulfilled, in that the album's

purpose and effect does not appear depressive, but rather expressive.