Charles Moothart, multi-instrumentalist and a sometime collaborator with Ty Segall and Mikal Cronin, revives his CFM moniker for a third studio album. Harder-edged than before, Soundtrack To An Empty Room shows an artist who’s just as at ease creating by himself as he is in collaboration with others.
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Charles Moothart is a man of many talents. He's an intrepid collaborator, a member of countless bands, and a multi-instrumentalist to boot. It's a wonder, then, that's he's managed to cram three albums in three years under the moniker CFM. The third, 'Soundtrack To An Empty Room', is a rough and ready blast of psych rock straight from the heartlands. Along with people like Ty Segall (a frequent collaborator of Moothart's), John Dwyer (he of Oh Sees), and Mikal Cronin, he's part of an established American psych tradition that's reached a huge audience.
This album is everything you'd expect really. There are thick, fuzz-heavy guitars, devilish vocals, and Eastern melodic motifs popping up here and there. That said, 'Greenlight' is a welcome respite from the onslaught of the first three songs. It's a sweet, country-tinged ditty that meanders and skips along very pleasantly. It's these softer tracks like 'Greenlight' and 'Soundtrack To An Empty Room' that are far more interesting than any of the heavier, faster ones. And yes, although 'Soundtrack To An Empty Room' does get heavier towards the middle, it's refreshing to hear the softer intro which frames the rest of the song. At its best moments, this album sounds like the Brian Jonestown Massacre at their most bullish, at its worst, it sounds like psych rock by numbers.
Though this album gets a little monotonous, there's something here for fans of garage rock, psych rock, and all its twisted progeny.
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