Based around the theme of reincarnation – and a story shaped by songwriter Reid Bateh about women linked through generations by dreams, snakebites and violence in dive bars – ‘Birthmarks’ is Bambara’s fifth album. Packed with darkness and troubled characters, Reid said ‘I wanted to write about the idea of love surviving after death, or the lingering desire to remain connected with someone after a relationship ends…’ Does ‘Birthmarks’ achieve this?
‘Hiss’ opens the record in evocative, eerie and atmospheric styles. There are elements of The Cure or Depeche Mode as the opening’s drum machines build up the tension and dual vocals demand answers to all their questions. ‘Letters from Sing Sing’ is more aggressive post punk with angular riffs and an assertive desire to ‘hit the switch’. ‘Face of Love’ follows and sounds like a bizarre yet brilliant combination of London Grammar and Tom Waits: ‘The back of my hairs are catching my breath’.
Lead single ‘Pray to Me’ is a statement of intent with electronica undercurrents, while ‘Holy Bones’ has a slower, sludgier intro that bursts into life in the chorus. It’s almost like we’re getting an insight into Reid’s innermost thoughts. There’s a touch of jazz on ‘Elena’s Dream’, a song that instantly transports you into a smoke-filled room. This is followed by ‘Because You Asked’, a powerful piece with instructions you don’t want to decline: ‘Go to sleep, don’t bury me’.
Relentless drums open ‘Dive Shrine’, a New Order-esque anthem that appears to be about outliving dreams. The closing pair of ‘Smoke’ and ‘Loretta’ are both packed with passion, the former with expertly played loud-quiet moments and the latter with its Sisters of Mercy stylings and chants of being a ‘true believer’.
Five albums in and Bambara still know how to surprise, shock and sublimely entertain…
