Slash Need
SIT & GRIN
self-released
Toronto synthpunks Slash Need walk a fine line on their new release Sit & Grin, capturing the ugly, throbbing energy of their now notorious live shows without crossing over into total bedlam. In fact, the mini-LP (produced Canadian alt and techno mainstay Josh Corody) does an admirable job of invoking the project’s barbed wit and squelchy charm while maintaining structural focus making it fit for the dancefloor. Check the audacity of “Border Town”, a near 8 minute opener that establishes a groove, punctuated by half-sardonic, half-furious observations, the cycling bassline and busy percussion building to a cathartic symphony of screams, setting the track on fire in its final sprint to the finish line. “Double Dare” condenses that same idea into an almost minimal pulse, layering on the distortion and forceful shouts and feedback, going full manic whiplash fast. Dusty Lee and Alex Low cram a lot into these tracks, visiting metallic atonal EBM on “Cool Touch”, playing through electro-banger “Leather” in both mid-tempo and fast versions, and even tossing in their roaring take on the oft-covered “The Money Will Roll Right In” by Fang on “Money”. For a band who revel in unruly, anarchic, mayhem, Slash Need have it all dialed in with rare and bracing precision. Recommended.
The Treasury
Permanent District
DKA Records
Virginia newcomer The Treasury’s debut EP Permanent District arrives with a pretty clear set of contexts and referents within modern body music. Over five originals and two remixes The Treasury combines a breaks-styled approach to EBM rhythms, evoking Kontravoid, with the muffled, estranged production style of Multiple Man. A track like “Novice Cycle” gets the whole ethos across – gasped vocals ride densely rollicking drum programming atop a dead simple, woozily repeating synthline. Chillier and more stripped-down tracks like “X.Y.Z. (you think you know me)” show a sense for styles beyond EBM, with early Chicago house being brought into the fold (the gone to ground None Of Your Concern seems a touchstone), while a similarly dialed back Normal Bias mix calls back to grimy mid-aughts electro. Sole member Troy Hancock has a decent touch of vocal charisma, and while it’s not the sort of release which leaps out of the shadow of its influences, there’s a decent amount to like here and a solid proof of concept for future releases.
