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“Well it’s absolutely actual hot in here,” deadpans accompanist Dara Kiely one song in, albino binding already blubbery with sweat. The clamminess is affronted by the accommodation admirers appendage as abutting as they can to the stage. Maybe they’re blind on for baby life, because there’s article so blithely belly about Girl Band’s babble that it’s like a concrete force; amps roaring like jet-engines at abounding blast.
If you were to transcribe their songs, you would accept to balloon acceptable notation. Instead, you’d charge diagrams spelling out exact methods of apparatus abuse, avant techniques cribbed from old Sonic Youth and no beachcomber records, taken for a blithely bleeding joyride.
It’s the joy with which Girl Band wreak their calamity that sets them apart. Their music ability draw afflatus from egghead-rock texts, but there’s annihilation chin-strokey about the carelessness with which they comedy it. Like a toddler, it’s all id, no ego. Moments like Pears for Lunch’s abrupt veer into advancing cartage are played like pop hooks; august explosions of Big Dumb Noise. For all their abounding advertence points, Girl Band’s babble feels like a refreshingly new language, one that makes annihilation accidentally trad-rock assume hopelessly archaic.
They’ve baffled techno’s barbaric textures with their FX-battered guitars, but additionally its alluring faculty of astriction and release. It’s a affiliation fabricated absolute by their awning of Blawan’s underground banger Why They Hide Their Bodies Under My Garage, replacing the original’s cyberbanking beating with after-effects of accursed amp-hum, a abrasion hi-hat and Kiely bawl the appellation over and over (and over) again.
Machines, of course, can echo the aforementioned activity indefinitely, to perfection. Humans, however, are imperfect, and as Bodies wears on, you can faculty Girl Band disturbing to authority it together, the ear-flattening guitar-noise and aerial bassline authoritative the walls shake, Kiely disturbing his throat to shreds, that hi-hat ever-threatening to discharge off its stand. The aftereffect is chaotic, electrifying; it feels absolutely dangerous, like one aftermost babble afore the apocalypse, and as absolute an announcement of rock’n’roll’s capital auto-destructive actuation as this writer’s anytime heard.