CD Review: Ninth House – Realize and It’s Gone

The fourth and possibly final cd from this long-running New York “cemetery and western” unit. This isn’t a country album by any means: it’s a dark, desperate, angry rock record. Aside from some of the songwriting (frontman/bassist Mark Sinnis continues in this promising direction in his solo work), the only concession to Nashville is that the vocals are mixed noticeably louder than the instrumentation, in the style of country records from the 1930s and 40s. Ninth House bridge the gap between Joy Division and Johnny Cash. The production values are strictly punk/new wave: layers of distorted and watery electric guitars, ominous string synthesizer and organ, and melodic bass, usually set to a fast 2/4 beat. The cd opens with a roar, on the magnificently ferocious chorus of the single Long Stray Whim (a deliriously good live take of this song was previously issued on the band’s sadly out-of-print Aerosol album). It’s a transcendentally powerful escape anthem:

This morning I stopped
It’s boring, I strayed
I’m on a long stray whim
It started
For a moment I fought it
I couldn’t persuade me
I’m on a long stray whim

In a dark, passionate baritone, Sinnis – one of the greatest male singers in all of rock – builds his case for getting away from it all. It’s ELO’s Eldorado for a new generation. The band follows this with the wickedly anthemic Burn, about a cremation. Ninth House frequently get pegged as a goth band, and while they’re much more diverse, this song makes it easy to see how they got that label. The next two tracks, Stretch Marks and Quiet Change could easily have fit onto a mid-80s Cure album like Head on the Door, although they crunch rather than jangle. After that, the slow What Are You Waiting For builds to a soaring crescendo of vocals and guitars.

The following cut Mistaken for Love is one of two straight-up country songs on the album, although the band – particularly guitarist Bernard San Juan, who has since left – gives it a rock treatment. It’s a savage look back at a failed marriage: Sinnis’ cold ending will send chills down your spine. Similarly, the next track Skeletons has country swing but an 80s rock sound. The tempo picks up even more on the relentless, minor-key Out of Reach, a concert favorite. Then it’s back to Nashville gothic with When the Sun Bows to the Moon, a gorgeous, catchy country anthem, a broadside fired at point-blank range at somebody who can’t get over herself:

You live in your own atmosphere
You create your own demise
Breathe your own tainted air

It’s taken on a particularly poignant significance in the wake of 9/11. The next song Cause You Want To is a slow, crescendoing, death-obsessed number that belies its catchy, major-key melody. The album closes with a blistering rock version of perhaps the original Nashville gothic song, Ghost Riders in the Sky and then the epic title track, which builds from a catchy, thorny major-key first section into a hypnotically dark, crashing, descending progression. And then it’s over.

Sinnis’ lyrics are terse and crystallized, the band is tight and the overall intensity of the album never lets up. This is serious stuff, a good album to blast at top volume after a rough day at work or school. Definitely one of the best half-dozen albums of the year to date, as consistently good as Ninth House’s two previous studio records. Five shots of bourbon, no chaser. Albums are available online, in better independent record stores and at shows. Ninth House plays the cd release show on July 7 at Galapagos at midnight.

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