ALBUM REVIEW: MOTHER VULTURE - CARTOON VIOLENCE (15/01/26)

Everybody say "Thank you Mother Vulture". In the deep, dark depths of frozen January there is salvation from the humdrum to be found in the electrifying pandemonium of Cartoon Violence. If anyone was worried this album couldn't live up to 2022's raucous Mother Knows Best, they needn't have lost any sleep, Cartoon Violence is a demonstration of what happens when determination and creative skill combine, expertly steered by four individuals who know who they are as a cohesive group and how to flaunt themselves convincingly through music. Where some rock artists aim to give the sonic version of a middle finger, Mother Vulture instead beckons.

‘Mike Check’ opens by sampling Mike Patton of Faith No More going in on Wolfmother at Lollapalooza Festival, before a rip roaring scream by singer Georgi Valentine and one of Chris Simpson's filthy bass riffs flings us into proceedings with no safety harness in sight. This album opener does indeed conjure the feeling of being thrown around violently on a fairground ride, dangerous but in a thrilling, moreish way. 

Don't imagine the rest of the album will loosen its grip though, ‘Sufferin' Succotash!’ is similarly frantic but in more of an unhinged- toddler hopped up on sugar way as it surfs through multiple tempo changes, breakdowns, vocal effects, moments of self-aware humour and a tasty guitar solo from guitarist Brodie Maguire.

‘Treadmill’ rumbles on relentlessly, manifesting the song's theme- "Life ain't a highway no, it's a treadmill'. The first of only four tracks on this album released prior to the full offering, it is a darker, more intense moment with a serious subject of monotony and the struggles many may have experienced. ‘Treadmill’ also features Valentine singing in Bulgarian for an entire verse, the icing on the cake of a true journey of a song.

Released close to a full year ago, weighty ‘Slow Down’ has been setting the bar for this new era of Mother Vulture for a while. The track, as you would expect, takes the speed of the album down but sacrifices no intensity for doing so, it is a fantastic example of the capabilities of this band to write impactful, hard hitting and unique rock music.

‘The Masquerade’ stands out in its own way, not just for its 7:21 duration, but also in its massive sound that builds to the feeling of being inside an epic cathedral. It's big, like Slow Down is but in a completely different way. This is one of Mother Vulture’s great strengths. The base ingredients that make up the band's sound are always the same but the seasoning on top changes the flavour, giving cohesion and variety at the same time. ‘The Masquerade’ is an odyssey, chilled out crooning gives way to arena filling Muse-esque sounds, a beautifully constructed piece with real heart.

Phoenix takes a somewhat more chill route, another single released prior to the album, this song is also the soundtrack of Gretsch Guitars new Jet series, an exciting and well earned collaboration. Mother Vulture are a completely label free, independent outfit that rely on their own wits for their success and that determination has been paying dividends for their credibility.

Taking a quick steer into an interlude entitled (corporate programming) featuring Benji Webbe of Skindred, ‘Double Down’ follows, leaning into a more slick, groovy sound combined with the ever relevant subject matter of money and status. 

Up next is ‘Knuckles’. The most recent release from the album, dropping just over a week prior, another steady track that still packs a punch. Cartoon Violence is whiplash in the best way, flipping seamlessly between chaotic mosh pit fodder and chuggy, doomy tracks. ‘Knuckles’ leads with the rhythm section, both bassist Simpson and drummer Matt West keeping steady tempo. The track thunders on with Valentine switching to a smoother, dreamier style of singing. The vocalist has a spectacular range, not only in the variety but in the skilled use of styles. Hair metal falsetto, growling metal screams and controlled, sincere singing is utilised perfectly across the range of songs.

‘Bedbugs’ has a Placebo like quality, one of the most polished tracks on the albums, it feels incredibly sincere and grown up with a fantastic chorus and purposeful narrative, this is one track that is over far too quickly and certainly leaves you wanting more.

‘La Matadora’, a nearly fully instrumental track takes us on a tour through Spanish style guitar techniques, channeling a vibe somewhere between Molotov and Pierce the Veil. It's a tightly wound track that keeps a chokehold until the last notes. Certainly a curve ball on the album, it earns its place with the signature Mother Vulture intensity.

Perfectly rounding off the album, ‘Mountain of Youth’ is so upbeat, so heartwarming it's easy to feel overwhelmingly happy while listening. This is a dancing track for sure. With gang vocals taking over and building to a satisfying conclusion it is a song that goes out with a bang and a brilliant illustration of the intuitive skill Mother Vulture have in curating the rise and fall of a collection of songs and leaving on a high. Many a great album has let itself down ending on a forgettable note. Instead, Mother Vulture leaves us with a track worthy of the end of a feel good movie, a track born to play while you watch the credits roll and bloopers start, designed to leave you waiting with baited breath for the sequel. Or maybe, you'll just be tempted to go right back to the start and relive the whole journey again. We know we did.