Self-released on 17 March 2017
London-based Girls in Synthesis is a band born wrapped up in straight-jackets mistaken for ribbons, producing music that instantly releases a stampede of wild animals into the centre of one’s brain; it’s the kind of forces we all like and cannot resist.
‘The Mound/Disappear’ is the latest double A-side single released by the punk-riot trio and is the stuff of utter menace casting back a reflection of some innate, unthinking rock ‘n’ roll juggernaut that hunts when midnight heats neon, between some ghoulish laboratory experiment gone wrong whereby we take pleasure in encouraging Frankenstein’s first steps, and when the epitaph of the modern world is ‘shut the fuck up’.
The Mound itself, is like a mountain of monstrous drums walking as though soldiers solidify in a ghostly motion to pounding hearts and pulsating shotguns of severe danger. The bass, a hideous pulse of action and automation flicks like knives into the stomach with guts to spill. It curls and coils, springs and startles like traps set in the cannibalistic jungle puzzles, a sharp-edged rattle snake with fangs gagging for ankles to suck on.
The stench of the guitars is no less powerful. The blatant use of feedback creates concrete waterfalls of beautiful noise, suddenly parting the tides with static infected licks, interlocking with disjointed strands of connection, wrapping, wracking, wrecking the straight sides to the city in flashes of disaster and gusto. It creates a territory for the vocals to scream over, a chamber to digest the bitter pill whilst coming to terms with our prehistoric dispositions that call upon the forces of second nature to sink the teeth deeper upon each bite, swallowing syringes, stabbing icicles, a telepathy crushing skulls in electroconvulsive fashion.
Disappear is no less disappointing. As the engine starts, hell breaks loose and ignition and imagination resounds like projectiles ejecting from the planet’s lame and ugly face, injecting relevance and response to a stale piece of tired nonexistence. Distorted contortions of bass guitar prick the fingertip with a needle and throws us into the shark tank. Nuclear warfare is announced via the radio that dooms mankind to supermarkets and adverts, treadmills and late trains, whilst a strangulated guitar melody breaks and buzzes in the background as though a pack of rabid dogs has set its eyes on something juicy in the distance.
What really captivates the senses here is the sheer velocity and ferocity of the instruments. It’s a perfect unison of dynamic that never once goes silent but creates the illusion that space is there. Everything is pushed forward and everyone is crushed together as they wrestle for air. Life depends on the light at the end of tunnel, a lie when it’s a train coming the other way.
The voice is incredibly melodic, adding some interesting audibility to the durable whiplash of broken bones and beating hearts. Once again, the bass sliding along a precise groove keeps the drums on a dynamic rein while live wire guitars frazzle and fry when met by a puddle of dirty water. The rawest of vocals stretch and soar in a moment of maddening frustration oscillating like wavelengths always with hot voltage and atomic size energy, surely enough to validate these two gems as truly heavy post-apocalyptic post-punk seizures that rattle the cages ready to release the next hymns into the urbane wild.
I am intrigued and cannot wait to hear more from the lunatics.
Artist: Girls In Synthesis
Label: Self release
Raw vocals, maddening frustration and atomic size energy, these two gems are truly heavy post-apocalyptic post-punk seizures that rattle the cages.