Posts Tagged ‘Punk Slime Records’

PNKSLM – 2nd April 2021

Christopher Nosnibor

Following the single release of ‘Not Fit For This’, GHLOW unleash Slash and Burn, the album which spawned it – and brimming with dark energy, it does not disappoint. While clearly operating within a genre field, and a comparatively limited instrumental format, it has range. It also packs so much tension and an emotional force that it’s an instant grab. As what you’d likely describe as an old goth (although nowhere near as old as some), I have a predisposition towards this kind of stuff, but by the same token, I’m immensely picky, in that anything overtly cliché I simply can’t muster any enthusiasm for – but GHLOW have got it all: the songs, the style, and the production. In combination, this is a work that resonates on a level that isn’t necessarily easy to articulate: it’s not simply nostalgia – and drawing on the dense electro shoegaze of Curve as much as early 80s post-punk and its lineal descendants. Anyway., it’s hard to feel nostalgic for a time before your own, and even if some of the aforementioned bands soundtracked my teens it’s not a pining pang for that which I feel on hearing this. No, GHLOW tap into something else altogether with their explosive blend of jagged guitars and simple sequencing plat places power to the fore over musical dexterity.

It’s ‘Not Fit for This’ that slams in by way of an opener, a gloriously spiky hybrid of Siouxsie, X-Mal, Garbage, and Savages, a thunderous bass and stuttering beat hammering away beneath a toppy blasty of guitars that provide the tense, fiery backdrop to Emille de Blanche’s commanding vocal performance. It grabs you by the throat and drags you into the seething morass of darkness that follows. There’s texture and depth, for sure, but this is one of those albums that’s best experienced end-to-end in order to appreciate the highs and lows integral to its sequencing. It’s also big on mood and big on dynamics, and the duo ratchet up the atmosphere to create a work of rare intensity.

The slower ‘Sleep’ is a song that drives right through the gut: the primitive drum machine sound stutters and jolts, the kick sound beating like a palpating heart, the snare a whipcrack that slices through the murk – and alongside is a grating bass sound that churns and growls malevolently. Over it all, Emille gives a powerful, full-lunged vocal performance. The title track is a mid-tempo motoric chugger that hammers away somehow unfurls as it progresses, and the repetition, paired with the soaring vocals and some howling lead guitar, becomes more than the sum of its parts, while ‘Hold It’ is a heavy, repetitive droner that’s claustrophobic in its dark intensity.

There’s something magnificently unpolished about GHLOW’s sound and for all its electronics, it’s The March Violets that their dirty, immediate sound calls to mind most, although ‘Hollow’ goes all out on the attack, and with the brittle guitar riding wildly over a furious beat, they sound more like Big Black fronted by Jehnny Beth or Anne-Marie Hurst. Slash and Burn has attack, it has edge, as well as repetition and hooks, and really hits the spot.

AA

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