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Love Comes Close is a strong debut not just because Cold Cave embraces their darkness so fully, but because they find so many shades within it.
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Packed with lo-fi-meets-nu-rave parsings of UK post-punk discontent, the album’s distorted melodies are immediately catchy yet convey brooding emotional depth.
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By enlisting noise goblin Ian Dominick Fernow (Prurient) and Xiu Xiu-graduate Caralee McElroy to pitch in, their full-length debut, Love Comes Close, manages to stand out as a successful collaborative effort with a clear sense of purpose.
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Look, if you’re seeking out the latest flavor of the month or are looking to see where this chillwave shit is going, Love Comes Close is probably not high on your list. But spin this thing once and it’s hard not to become engulfed in the aesthetic gloominess and seedy milieus Cold Cave are delivering here.
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You can’t say it’s a great album for 2009 when it would have been a merely good one in 1981. But it is good, fitfully very good, and when considered alongside Cremations, this two year old band have build up an undeniably impressive body of work.
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Under The RadarIt's a compelling push/pull struggle of cerebral analysis verses arm's length emotion, largely devoid of histronics, yet masterfully articulated by Eisold with sheer poetic clariety that differentiates the act from a litany of '80s electro revivalists. [Fall 2009, p.57]
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Love Comes Close shows some potential for artist growth with a little more seasoned songwriting.
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Eisold's delivery, as cliche as it might seem, is often hypnotically compelling, and the lyrics are slightly redeemed by the synthesizers.
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UncutReissued by Matador mere months after its boutique debut, Love Comes Close is shaping up to be the indie-noise synth-pop crossover hit of the year. [Nov 2009, p. 83]
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Cold Cave are neither here nor there. The pop hooks aren’t catchy enough, the ‘coldness’ too rote, the flirtation with eroticism simply an abbreviated spin on Depeche Mode’s “Master and Servant.”