Was a pleasure to bring Glaciers to Noods Radio! Here’s the first show, an hour dedicated to minimal synth electronic music, wrap up warm! ❄️ 👌
Blood, sweat, and clown grease paint frequently mulch Gabby Giuliano’s grimacing face towards the end of their punishing sets. Offering violence as catharsis, Girl Pusher provides sanctuary from a world growing uglier day by day, holding the agents of misogyny and prejudice to bloody account amid split lips, static screams, and digital venom.
Hollywood cyber punk duo continue their electronic cacophony via DEFACE records with 911, six corrosive tracks of fuzzing assaults that disorientate as much as excite. Opener ‘Where the Fuck is My Ambulance’ creeps in with 911 sirens over audio from the ‘Marcy tapes’ (previously sampled by My Life With the Thrill Kill Kult and The Orb) detailing a runaway hippie’s want for platonic love, before burbling guttural synths and pummeling beats leave you picking your teeth from the floor. A lyrical diatribe of ‘long snakes in tall grass’, less written and more spewed up like bile, raw and abrasive condemnations of indignity at the hands of male entitlement. ‘Reformed Hellraiser’ is a haunting trip into masochism, Jarrod Hine’s drums spasm and stutter against Giuliano’s glitched, whispered confessions of self-perpetuating pain. Pulsing bass synths throb aggressively on ‘Red Was the Color of the Candle’ an acidic paean to utilising one’s burning anger for empowerment, ‘Gentle Marcy’ returning halfway through creating a vulnerable interplay with the intimidating rage. Things speed up on ‘Runaway’, an EBM punk thrasher showcasing Hine’s drumming prowess, before the abrasive ‘Did U Think of Me Last Night’ oozes in with analogue toxicity, a visceral slop of dissonant percussion and bowel churning aural hellscapes. You can scarcely believe that only ten minutes have passed by when finale ‘Out of Breath’ hits you, a fizzing, boiling, stream of consciousness attacking the ‘fucking creatures’ that prey on insecurities, Giuliano ending with the sentiment ‘You deserve starvation, overdose, and best of all, DEATH!!!’
We’re all wounded and scarred by a hostile society, seemingly set to implode before it affords us a modicum of compassion or acceptance. In a messy, divided world, Girl Pusher have created an EP which has exorcised the trauma of Trump’s America, reaches a hand out and offers solidarity, validating your anger and confusion. 911 is a visceral, primal confrontation of a sick society, brutal yet liberating.
Britain is in a strange place right now, and there’s no lacking in a unique weirdness to mine and plunder. Now! (in a minute) is a glorious conduit of the surrealism and eccentricity which lies unassuming in the heart of our collective everyday routine and ‘normality’.
Electronic duo and aptly named audiobooks was conceived almost without trying. Meeting at a party, Goldsmiths art student Evangeline Ling and in-demand mixer David Wrench (working with FKA Twigs, Frank Ocean, and David Byrne) were already creating sparks before his new studio was even wired in, Ling announcing her arrival the morning after they met with a simple text. Armed with Ling’s sketches and story ideas, and Wrench’s array of analogue synthesisers, a frenzied pace of work followed, taking little more then an hour to complete a track.
audiobooks’s laconic approach to writing and recording has yielded a debut album that’s bristling with new ideas and covers a range of colours and flavours, cohesively held together by Ling’s mordant reportings. Ling’s storytelling acumen is brilliantly demonstrated on the tracks ‘Grandma Jimmy’ and ‘Call of Duty Free’, two tales of hilarious disquiet behind the facade of middle class pretense, backed by dub bass on the former and disorientating modular squeals and skwarks on the latter. ‘Hot Salt’ leaps out of the speakers, a shimmering pop number with expert fat synths and sitar-like licks, and a healthy nod to The Human League. Manic energy is tapped into on ‘Dance Your Life Away’, Ling’s vocals whipped into a screaming frenzy and Michael Jackson hiccups and yelps, the unhinge returning on ‘Dealing With Hoarders’ complete with proggy fuzz like Edgar Winter’s Frankenstein (whom Wrench bears an uncanny resemblance to). Stirring closer ‘Pebbles’ (first heard on their Gothenburg EP) is a truly affecting stirrer, 80s Tangerine Dream swallows you in walls of electronic sheen, surrounding Ling’s commanding vocals.
Spontaneous, urgent, and effortless, Now! (in a minute) is a truly original piece of work, dripping with wit, ingenuity, and one of the finest marriages of pop and story telling.
Plastic Ivy has one sole figure listed as her influence: Marcel Duchamp. Taking inspiration from Duchamp’s philosophy of art serving the mind over the eye, Philadelphia artist Lira Marie Landes has utilised this cerebral approach to explore her search for self-knowledge and actualisation, in the midst of a gender transition during the writing and recording of the album.
The Glass Horizon is six songs of exemplary minimal-synth pop, taking cues from the rich crop of contemporary icy synthesist’s (Xeno & Oaklander, Void Vision, Speaking Parts) and authentic electronic sonics being attributed to her primary use of analogue Roland keyboards. ‘Exit Strategy’ is a frenetic chiller, chunky arpreggiators drive against discordant sinewaves, echoing the aggression heard on Martial Canterel’s Gyors Lassú. Landes’s Residents-like vocals come to the fore on lead single (video shot by Liz Wendelbo) ‘Never Caught in Amber’, a jubilant BPM pop-banger espousing the liberation of embracing your true self. Epiphany turns to playful with instrumental ‘Sticky Fears of Inner Néant’, complete with melodica played by Landes herself, before the post-punk ‘Anaphora’ details the blank canvas our bodies are, backed by Frank (Just Frank) indie guitars and a glorious big synth lead right at home with The Cure’s Kiss Me Kiss Me Kiss Me. Menace follows with the cavernous funk of ‘Usury’, then cinematic closer ‘Love on the Floor’ drops us into a sea of reverb and delay, held together by steady drum machines and bass throbs, culminating to a thrilling end to the atmospheric tundra.
Plastic Ivy’s sophomore effort is a dynamic first entry to a proposed series of thematic works, and her balancing of pop immediacy and the weighty quest to promote communication and questioning have been well and truly realised.