Kill Me Tomorrow feels like the kind of band that started out with purpose and vision. Whoever masterminded the initiative must have felt the need to occupy this vacant niche in music. That niche consists of no-wave, cinematic, electro-art-punk with a gothic aftertaste.
Whether this niche really needed to be filled is unimportant. The bottom line is Kill Me Tomorrow accomplished their goal on their full length epic “The Garbageman and the Prostitute,” but seem to lose interest in the prize the moment they pull themselves together enough musically to achieve it.
All the pieces are in place: feedback squalls, punchy drum machines and synthesizers whose ineptitude at reproducing any organic sound result in a charm all their own. A narrative and cinematic lyrical manifesto lends Kill Me Tomorrow a little more intellectual weight than the average tech-punk outfit.
But it sure does sound good. “The Garbageman and the Prostitute” is textbook electro-punk with an eye toward no-wave cacophony. On a few clear-headed tracks, Kill Me Tomorrow even bangs out some cool songs. Their rendition of “Hot Head” sounds like a Chicago blues band circa 1969 composed entirely of robots fabricated from junkyard scrap. The title track is also a highlight when the male vocalist breaks out of his standard up-all-night croak and starts sounding a little like John Doe from the Los Angeles punk band X.
With a few stand out tracks and an album worthy of being pleasing background noise, “Garbageman” makes for a worthwhile listen.