This is a review of "Cold Sister" recorded by The Cut. The review was written by Maria Pinto-Fernandes in 2007.
There’s something about The Cut that just keeps me coming back for more and it’s frustrating that as a music journalist I can’t articulate that je ne sais quoi. Live, the trio are unstoppable although it must be said that recorded they do far from disappoint.
Their current single ‘Cold Sister’ had been premiered at their recent live shows, so for the fans [who incidentally chose the song to be recorded] it was a case of eager anticipation to see how the song translated to the lowly CD. The result is as ever, impeccable with Mitch and Alex mercilessly thrashing their guitars in a decidedly un-Cut fashion which is like an orgasmic release as the band prove that their creativity does not stop after a string of overwhelmingly well-received EPs and previous single ‘Dazed’ which the music press ate up. Perhaps it’s in Alex Kresenski‘s effortlessly seductive vocals that fuse with Mitch Cockman‘s unparalleled brilliance on the guitar and Chris Corrigan‘s drums that act as the vital icing on this big fat cake of music talent and exuberance. The Cut are very much a band in their musical collaboration and I have honestly never heard a song of such calibre that oozes with energy that The Cut’s contemporaries can only hope to emulate. ‘I hope you’re happy now’ a message resonating in one’s head after the first listening, an affirmation of the fact that the band are here to stay.
‘Jason’ next rears its head… a b-side which normally instils fear into the heart of a music journalist as dear reader you will know, b-sides are either amazing or a pile of cat piss. B-sides can change the relationship you have with a band into one of lies and deceit because they can be by an excellent outfit, but be neglected and amount to nothing more than gobshite. Luckily for we lovers of eclecticism, The Cut delight in allowing other samey bands to do the aforementioned to the once neglected and now increasingly valued b-side. A sort of synthsy intro sees the start of a b-side that is nothing short of magnificent and a lesson in how to ensure b-sides keep their good name. Guitars fuse, but honestly it’s Corrigan’s drums that seal the elevation of the song into another world than our own as Kresenski embarks on another tale of a haunted woman who exploits her dark state to manipulate her chosen subject. I have to say though, I’m loving the synths and distorted vocals because they can be interpreted as The Cut’s nod to the ubiquitous new rave revolution and fresh from a Klaxons gig I can only applaud this. That’s an admirable quality about The Cut, even if they don’t purposefully set themselves apart from all the other bands of their ilk, they are different and this is essential in this age when, fuck what anyone says, indie rules the waves.
So then, the latest release from The Cut serves yet again as the latest reminder that this Huddersfield three piece are proud of their uniqueness and aren’t going to fuck off any time soon, thank. God.