Album Review: Care Home - For Nothing
Reviewed by Rob Barker
I got to see Care Home at the end of 2023 opening for Oxbow at one of my (and many other people’s) favourite venues, The Brudnell in Leeds. Had never heard them before, and I wasn’t there to see them; I was more looking forward to seeing an underpants-clad cage fighter bother the fuck out of an entire audience of people to pay any mind to who was supporting. Then Care Home actually came on stage and started playing. At which point, they had my full, undivided attention. These guys are really, really, really good. Don’t expect smiles and sunshine: if we’re comparing this to films (and we are it’s my review shut up), For Nothing is the musical equivalent of the A24 horror misery masterpiece The Lighthouse. There’s no joy to be had, other than the joy that joylessness brings. If that makes sense.
Lead The Weak starts us off with despairing, warbling synth noise from the very beginning. Heavy, pounding distorted guitar comes in with intent (Charles Pritchard on guitar), progressing into a darkly energetic heavy post-punk anthem, showing off some elements of post-metal alongside. LTW was the first single from For Nothing, and for good reason, this is a damn good introduction to Care Home’s signature sound. The Photograph gives us a dark, raw version of early Swervedriver’s “big” sound, without being indecipherably muddy or unclear or drifting too far into shoegaze territory and away from the overarching post-punk sound. Birthday Sex gives crushing, pounding rhythm (Matt Reid on drums), reminiscent of Esben and the Witch, and at times brutal heaviness akin to no-wave heavyweights Swans.
Time to reflect and acknowledge also on just how well this album has been produced so far. Recorded, mixed, and mastered at Hohm Studios, Bradford – hats off to Ross Haldon and Tom Goodall for the production-side of things, top job!
Synth and repetition play a big part in Stained Glass, parallel to the likes of some of the darker offerings of 80’s goth mainstays such as Depeche Mode and Killing Joke, whilst simultaneously keep a modern feel akin to current pioneers of despair Chat Pile. Care Home seem have accomplished this without their music sounding dated, copycatting or unnecessarily worshipy to any of these sounds, keeping their identity strong as a sound unto themselves. I especially liked Pritchard’s guitar work in Stained Glass, keeping it catchy and engaging yet remaining sinister and dark.
Nightshift speeds up in both tempo and intensity; the first half of this track is a relentless pounding of visceral punishment, the synth and guitar riffs reminding me of a sinister version of Rolo Tomassi in some places. It changes into one of the most rewarding slow-down sections I’ve come across for a while, with beautifully delayed guitar, dynamic drumming, leading to pounding bass and hellish vocals in a reduced-tempo breakdown worthy of the highest regard (Chris Jenkinson being responsible for both the vocals and the synth). Again, recalling back to Swans here in the seemingly-unending audio assault that is this track, and really the entire album. Another favourite.
We Lost keeps momentum going strong, before Loved At Home shows off a fantastic raw bass tone intro (Mark Snellgrove on bass), leading into a double-takingly heavy and chaotic second half. Irreversible Séance was the second single from For Nothing, released only in March this year this track reminds me of a heavier, more brutal and less melodic version of some of Palm Reader’s catalogue. Prescription Sleep could almost belong on a Mike Patton era Dillinger Escape Plan release, if Patton had all the joy of a Ken Loach film (sorry, more films, drown me).
Wasted on You gets a bit closer to a shoegaze feel than before, and you know what, they pull it off pretty well too, proving that Care Home have the scope, versatility and ability to really craft a masterpiece with the tools they have – Care Home have just fresh released this one as a single, complete with a disorienting black and white music video, which I’d recommend getting onto Youtube and having a watch of. For Nothing finishes with End Scene, and carrying on from the previous song and point about masterpieces, this is the perfect way to finish off the album. A six-plus minute education in dark, bleak music. Well done.
For Nothing is for people looking for heavy music that is very much not on the beaten path of expectation. A union of post-punk, darkwave, goth, post-metal, and also anguish, fear, and pain, this brutally powerful release is strong and visceral enough to go up against some of the leading acts in experimental music. Watch out for Care Home, their musicianship is strong, their live set is crushing, their songwriting is pure dark art, and their new album is fucking fantastic.
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