Curve
Come Clean

THE REVIEW

The title of this album "Come Clean" almost seems like an oxymoron, as it sounds anything but clean in terms of sound.

It's 1997, after three EPs and two studio albums, Curve, having overcome a short period of almost forced rest, solo projects, and internal group issues, return to the scene, abandoning that dark-shoegaze genre and moving towards industrial, a mix of electronic and dance rhythms. Despite this trend reversal, I believe that this "Come Clean" is an album not to be underestimated. It might be that at this time I'm suffering from "chronic Curvitism", or maybe it's the heat or whatever you like, but this dirty sound, the use of samples, those whispers of Halliday halfway between singing and speaking so calm, out of tune, and surreal enough to give chills and immerse in a futuristic atmosphere, fuel day by day the desire to have this duo back on the scene.

The album is a complete mixture of distorted sounds, with a blend of much stronger and damn industrial songs ("Chinese Burn", "Dog Bone", "Cotton Candy"), others more introspective and dark, with that allure of electronics that makes them particularly enjoyable ("Coming Up Roses", "Something Familiar", "Beyond Reach", "Recovery"), and others simply crazy ("Come Clean", "Killer Baby"). Indeed, the influence and technological advent, the hand of Alan Moulder, the search for a new sound, the break with the past, the almost non-existent guitars that give way to keyboards and effects are very evident. I don't think, considering the subsequent works also geared towards experimentation in this genre, that the fans have greatly appreciated this change in style, yet despite this, few albums have fascinated me at the first listen like this one, leaving me stunned but at the same time satisfied and also melancholically dark. 

Definitely to be rediscovered and reassessed