Cave’s Violent and Varied Tiny God

Cave is a trio of Tufts seniors. They’ve been around for about a year, but a thumb injury restrained their presence on campus, until recently. Over the past year, they wrote and record their album, Tiny God. Cave played it on air some weeks ago on WMFO. Its digital release is today.

Tiny God aptly named. Its title twofold encapsulates the work. It, alongside the grotesque cover, evokes the potent horror of films like The Omen or the end of 2001. It features a hand-drawn, demonic, multi-limbed baby with hollow eyes. There’s a similar violence to the record. It explodes after the uneasy, bass-driven “Cave (The Barn Tape)” with “Cave (The Song).” A third song, “Cave (The Hits),” joins these two, forming a trilogy that comprises half the album. Given the vicious volatility of these openers, and considering they all feature the name of the band, you’d think that these songs capture the essence of Cave’s sound. They don’t. The album’s sound is diverse.

Tiny God, as a title, further captures Cave’s confidence. It’s a small record; the music doesn’t strive to overwhelm with ambition. Instead, it functions as a compact but powerful and varied debut.

Despite its length, the album succeeds in introducing the listener to the contours of their sound. Four songs in, we’re met with the smooth, psychedelic “Fridgeman,” in which warm synths and jangling guitars float over a mostly even-tempered mix. Surf guitars then open “Lee,” which vacillates between the tranquility of “Fridgeman” and the energy of the first three tracks.

It would have been interesting to see what direction Cave took their sound given a longer album. However, its vitality and rapid pace make it a rewarding listen.

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