Computerized, “New Beginning” (Stones Toss)
Named after a Go-Go’s track, Los Angeles trio Computerized surfaced in 2019 with the sangfroid, steely nerved album Sign, a worthwhile deviation from the underground-hip-hop powerhouse label Stones Throw’s standard output. On that LP, synthesist Izzy Glaudini’s anomic vocals insert a coolly detached glaze to the group’s linear, slyly melodic approach, buttressed by drummer/vocalist Lola Dompé (the daughter of Bauhaus/Enjoy & Rockets/Tones on Tail sticksman Kevin Haskins) and bassist Halle Saxon’s tensile groove machinations.
Automatic’s sophomore album, Extra, refines Signal‘s motorik thrusts and modern melodic contours. The rhythms are geared for swift, frictionless transit across moonlit boulevards as synths gleam, glower, and glitch with arduous interest to timbral detail. “Automaton” cruises elegantly out of the gate with a star-dusted drone and bass line percolating like that in Joe Jackson’s 1982 mega-hit “Steppin’ Out,” but with a lot more pressure in it. A hypnotic percussion motif crafted out of Glaudini’s quirky array of tones offers way to disorienting shafts of sci-fi-film-signifying Forex, revealing a broader sonic palette than previously.
On “Realms,” Automated consider a scarce and attractive detour into brooding balladry, sounding like Siouxsie & the Banshees on Quaaludes. “Teen Beat” channels B-52s’ enchanting “53 Miles West of Venus” electrical power devoid of sounding like a blatant tribute. With the album-closing “Turn Absent,” Automated supply the inflammation lighter-waver that couple in all probability considered they experienced in them. But, once more, the general model is sculptural minimalism derived from post-punk’s first wave, compounded by a nonchalant coolness in the songcraft and singing.
Excess peaks on its to start with reduce, “New Starting,” a track that commences a little bit like Younger Marble Giants’ carefully apocalyptic “Final Day” prior to accelerating into a metronomic burner whose urgent sonic attack—replete with discordant synth stabs and snappy claps—embodies the lyrics about escaping a doomed planet and getting an additional frontier on which to reboot the human race. It really is equally exhilarating and nerve-wracking, a fulfilling merger of terms and sounds. And you can dance to it.
Computerized complete Friday November 11 at Freakout Festival.
Fire-Toolz, “Soda Lake With Recreation Genie” (self-unveiled)
Chicago’s Hearth-Toolz (aka enbee musician Angel Marcloid) has been mangling and merging genres under this cope with because 2017. She’s infamous for slamming collectively stylistic incongruities with perverse ingenuity for labels such as Hausu Mountain and Orange Milk, steadily building a cult pursuing. To grossly understate items, Fireplace-Toolz’s songs is not for everybody. (Tunes “for everyone” is a fantasy, in any case.) But in a planet rife with predictable, blatantly by-product artists, Marcloid stands out for her nuttily chameleonic discography. She also plays or has performed in 19 teams and has recorded beneath even much more aliases, producing for a profusion of confusion. But Hearth-Toolz has grow to be Marcloid’s very best-regarded task and a intriguing entry level into her exclusive sonic universe.
Fireplace-Toolz’ Bandcamp webpage lists 15 genres, which may be a new file. Various serious strains of electronic tunes and metallic determine heavily in her work, juxtaposed for maximal bafflement. One requirements fast ear movement to stick to the mercurial concepts torrenting by way of a Fire-Toolz keep track of. What appears like a facsimile of a corny Television film theme can at any instant get overrun by breakneck gabber-techno beats or be laced with lava-gargling demise-metal screams or change on a dime into a beatific New Age or sleek-jazz reverie. It is a cavalcade of put up-every little thing maneuvers that’ll simultaneously have you laughing at Marcloid’s sheer absurdity and audacity… and banging your head… and blissing out.
Fire-Toolz’ latest missive is the 7-track EP, I will not use the body’s eyes currently. It hints at what will appear on a whole-length coming out following 12 months on Hausu Mountain. Not as stylistically omnivorous as earlier releases, I will not use the body’s eyes these days. focuses a lot more on Marcloid’s glitched, IDM-educated textures and quasi-funky beats (“Vedic Application ~ Damp Interfacing” is an exemplary specimen), and ambient soundscaping.
“Soda Lake With Match Genie” begins with such an earnest and quite bombastic prosper, you may possibly truly feel as if you’ve unintentionally tuned into a MOR radio station from Dubuque ca. 1983. Then Marcloid lets unfastened her demonic vocals, and the contrast concerning that larynx-shredding and the genteel synth motif, coronary heart-bursting sax solo, and florid guitar showboating is a LOL WUT minute for the ages. All the even though, some wicked beat science roils. Then an ambient passage of angelic poignancy drifts in from a Hollywood motion picture soundtrack, and your equilibrium has been whiplashed so artfully, you really don’t know what decade it is. Now that is subversion…