Another day, another band from Chicago. While patiently anticipating news of a new Atlas Moth album, I snatched up the promo for Black Cross Hotel—who feature drummer Mike Miczek and keyboardist Andrew Ragin from that uniquely formidable post-metal force, alongside Stabbing Westward guitarist Marcus Eliopulos and producer Sanford Parker (ex-Nacthmystium, Minsk, Twilight) and Whipped vocalist Dee DeEmme—hoping for a similarly atmospheric inventive and enthralling release. While largely delivering on the first two points, do Black Cross Hotel manage to envelop the listener in a similar journey, or is this a one-night stay type of establishment?
Black Cross Hotel find themselves in more of of Stabbing Westward's synth-heavy and post-punk influenced territory. The album’s first three tracks find them opening on a more sludge and post-metal note, showcasing an interesting mix of synth-heavy atmospherics with sludgy vocals and a more guitar heavy, darker approach. While this brings them closer in sound to The Atlas Moth or a less abrasive variant of The Lion’s Daughter, the riffs and drum patterns are on the repetitive side, and while the soundscape they create is certainly interesting, I find the compositions less engaging, even if the enveloping textures are quite satisfying.
Starting with “Song for Switches", the band ups the ante by incorporating thicker, more synthwave forward melodies and increasing the tempo and energy levels on tracks like “Blood Dance” and “Church Basement” and “Teeth”. The latter especially is downright danceable and cements the album’s solid midsection with an upbeat energy mixed with effects that remind of an airier Oranssi Pazuzu, and a looping melody that shows the influence of The Atlas Moth albeit in a much more twinkly and infectious way, with the album’s penultimate track returning to the less-successful formula of its opening section, before closing reasonably strong on “2AFPT”.
The production is generally good, adding a satisfying texture to the electronic elements and plenty of gravel and bite to the rougher sections. Samples are generally used effectively, and add to the album’s atmosphere without taking up too much space. Another small point of critique, however, is the somewhat rough and monotonous vocal performance, which can be a bit jarring paired with some of the more synth-heavy sections. Especially in the sections where the vocals repeat the same line. When they take on a more acerbic tone or shift more towards gang shouts, both exemplified on “Rot Together”, they work quite well. It’s the middle ground shown on “Eyes From Nowhere” that occasionally gets on my nerves. Mileage on this might vary, and I have to credit Black Cross Hotel on their interesting and fairly unique mashup of styles that largely makes for an interesting and refreshing album.
Songs for Switches is an interesting release by a band with a promising pedigree. The album’s synth-heavy, bouncier midsection leaves more of a mark than the guitar-centric tracks and a lack of hooky riffs and over-reliance on repetition detracts from the experience. Nevertheless, the overarching atmosphere and the album’s soundscape offer a fairly unique experience to my ears. Give them a shot though and you never know; you might find yourself returning to this derelict, neon lit hotel room for repeat visits.