In the last few years there has been a slew of bands who've take on the moniker of "punk cabaret". While the term cabaret is generally fitting the usage of the word "punk" is misleading at best. Most of those artists have little or no rock influence, much less punk. It's as if "rock" is a bad word, something they choose to distance themselves from. Not so with Seattle's Scarlet Room. As you can hear on their new EP (and first CD) they are proud to marry cabaret to their foundations in rock. Cabaret rock? Cabarock?
Forget the terminology, these four young, talented musicians are canny enough to see the commonalities between rock and music theatre. Both have frequently explored the darker corners of life, you can hear it in the works of the Doors or performances like "Sweeney Todd". Both rock and musical theatre aren't afraid to be bombastic in the best sense of the word. Both can be grandiose and still be compelling. Scarlet Room are wise enough to realize that rock is epic theatre. That there's nothing contrary about combining rock with cabaret. It's not contradictory, as heard on this CD, it may be compulsory.
Lyricist and drummer Eloise Govedare knows how to evoke a stage setting. Of the six songs found on this EP four of them reference performances or performance locations. You've got the movie set of "Lights! Camera! Action!", the courtroom of "Ladies and Gentlemen of the Cold Blooded Jury", and the puppet pageant of "Marionette". I'm not sure why the circus and sideshows have become such a metaphor for the dark underbelly of America (especially to generations that have grown up without traveling seedy shows) but Scarlet Room conjures the claustrophobic roller coaster of the decaying big top nicely on "Welcome to the Musical Circus".
Govedare's talent as a lyricist is on display with the song "Marionette". Anybody could write Pinocchio with a female protagonist. Govedare isn't just interested in a toy who wants to be "real". It's the WHY they want to be real that excites her. Pinocchio wanted to be real so that he could be loved and belong. The heroine of "Marionette" doesn't want to be real just so she can run back to the arms of her "Father" she longs to be free. She wants to be untethered and unrestrained. She wants to be more than a puppet and more than a child.
Vocalist Aleksandra Weil is the group's central attraction. She (like Govedare) is a classically trained pianist and her skill and talent shine on each song. Vocally she's also the show's acrobat. When you listen to her sing your head will duck and twist trying to keep up with her. It's beautiful.
It's the boys in the band (guitarist Robert Reis and bassist Kris Darr) that provide the ROCK. They bring a meatiness to the songs where the threat and thunder of electric guitars counterpoint the piano and vocals nicely. The guys aren't all force and volume. There are nice moments of subtlety in their performances as you can hear on "Marionette" with its has a lovely guitar sound reminiscent of the Doors' Robby Krieger.
It's good for a band to have diverse influences but that doesn't mean the concept always works. Have no fear, it works amazingly well here. Scarlet Room have perfected a unified sound. This is not x meets y, it is not cabaret meets rock. It's cabaretrock. The chemical wedding is complete. This EP is well worth your time and attention. It can stand up to any of the neo-cabaret recordings release in the last decade.
