Tag: Automatic

Top 40 albums of 2016 – 2020: #’s 10 – 6

We’ve reached the “David Letterman” moment – the top 10 albums of records I’ve reviewed in the last five years. Shall we begin?

#10: Priests – The Seduction of Kansas (2019)

This post-punk album is as sharp as a straight razor and as sexy as a femme fatale wielding that razor. Priests call out toxic masculinity, the changed political climate that arose from the Trump administration, and rich elitism with a mixture of snark, shredding, and, yes, seduction. Priests amicably split up after this. I hope they’ll put out new material someday, but they went out on a high note if not.

#9: The Besnard Lakes – A Coliseum Complex Museum (2016)

Easily the lushest album on this list, A Coliseum Complex Museum is full of soaring psychedelic riffs and vocals and songs about hope, strength, and the cosmos. It’s an uplifting record that preceded four years in which most people were trying to put each other down. It reminded us that we’re better than that, and always have the potential to move ourselves and others forward.

#8: Automatic – Signal (2020)

Good heavens, this is a stunning debut of post-punk and synthwave gems. Automatic threw down a gauntlet with this record after slapping all of us across the face with it – and looking fabulous while doing it. Signal arrives sounding like these three women have been making albums together for a decade and is perfect for dance floors, bedroom romps, and action scenes filmed in neon-lit nightclubs.

#7: A Tribe Called Quest – We Got It from Here…Thank You 4 Your Service (2016)

The final album with A Tribe Called Quest made with founding member Phife Dawg before his death, We Got It from Here…Thank You 4 Your Service is a powerful record that reminded the world of many things: ATCQ still had the hip-hop chops that many still envied, Phife was an amazing MC, and that hip-hop (and music in general) can be a powerful tool of change and resistance.

#6: King Gizzard and the Lizard Wizard – Nonagon Infinity (2016)

King Gizzard and the Lizard Wizard could’ve appeared multiple times on my top 40 list due to their prolific output alone, but Nonagon Infinity was the surefire winner of everything they released in the last five years. The album is masterfully engineered as one long track that, when looped, plays infinitely without any noticeable bumps. This was the album that propelled them to massive popularity and is a wild ride from never-beginning start to never-ending finish.

What albums made the top five? Post-punk makes another appearance, as does more doom metal, powerful rock, electro, and an album by a legend.

Keep your mind open.

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Top 35 albums of 2020: #’s 5 – 1

Here we are. We’ve reached the cream of the cop.

#5: Yardsss – Cultus

This album is “only” three tracks, but one of them is over twenty-three minutes long. The other two are over seven minutes each. Even more impressive? This entire psychedelic / prog-rock album was improvised. Yardsss came in without a game plan and created a monster of a record that you can’t believe was done on the fly.

#4: Caroline Rose – Superstar

This is Caroline Rose’s best album to date. She tackles subjects like fame, flying your freak flag, sex, love, lust, and finding the self with power pop riffs, playful, lovely vocals, and some of her wittiest songwriting to date.

#3: Windhand – Levitation Sessions

I watched several livestream concerts this year, and all were good. This one by doom metal giants Windhand, however, literally gave me chills. That moment came during “Forest Clouds” when I could feel something happening. The hairs on my arms stood up and I couldn’t stop grinning. It was a powerful moment that I needed to remind me that live music will return. Nothing can stop it (or Windhand, it seems), and this entire live album was like being handed a battle axe as a hobgoblin army advances on the city.

#2: Automatic – Signal

I knew right away upon hearing Signal that (A) it was a post-punk gauntlet thrown down at other bands, (B) it was sexy as an underground 1960s dance club in Paris, and (C) it was going to be my favorite debut album of 2020. Everything on this album works at a high level. It makes you feel like a sexy bad ass, and all three ladies in Automatic are such. Tread lightly, however. They’re not screwing around and might whack you with a claw hammer if you cross the line.

#1: Flat Worms – Antarctica

This psych / garage / punk masterpiece by Flat Worms went into my #1 spot upon first hearing it in April 2020 and never moved. It is stunningly powerful and chock-full of killer lyrics about fighting against the rat race, internet addiction, the depersonalization of others, economic inequality, and toxic relationships. This is one of those albums that sounds new every time I hear it. It’s a shame they couldn’t tour to promote it, because this album could’ve and should’ve made them big-time draws.

I’m already hearing good stuff in 2021, so let’s stay healthy and get back to shows and festivals.

Keep your mind open.

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Review: Automatic – Signal

I stumbled upon Los Angeles trio Automatic while listening to a radio station from somewhere in southwestern France. I was immediately hooked by their goth / no wave sound and had to find more. Luckily, their new album Signal was already available. I knew after one listen that I had to own it.

Halle Saxon‘s fretless, fuzzy bass opens the album on “Too Much Money,” and Izzy Giuadini‘s synths add a buzzy air of menace throughout it while Lola Dompé‘s drums are as precise as an auto assembly line. “Calling It” was the track I heard on French radio that made me sit up and think, “Who is this?” Dompé’s drums take center stage on the track and the echoed vocals are cold and sexy at the same time. “Suicide in Texas” is a goth-wave / David Lynch movie dream track. Automatic have cited Mr. Lynch and Dario Argento as major influences, so that already makes them great in my book.

“I Love You, Fine” is one of the best song titles I’ve heard all year, and the lyrics might be the best ones about female empowerment in a relationship since The Waitresses‘ “I Know What Boys Like.” “Highway” is a danceable industrial gem suitable for your next late night drive to an after-party. Saxon’s bass groove on the title track is undeniable.

“I see you turn into humanoid,” they sing on “Humanoid,” which I can’t help but think is influenced by Gary Numan‘s work. Giaudini’s synths and Dompé’s percussion on it sound like some of Numan’s work with Tubeway Army – which is never a bad thing. “Damage” is another killer goth-wave track as Automatic sing about walking away from a relationship that they know isn’t going to end well.

“Electrocution” has Dompé and Saxon in perfect synch on an upbeat track about what can be a downbeat subject – emptiness (“The sound of laughter, and then it’s over. There’s nothing after.”). “Oh no! We’re goin’ nowhere!” they sing on “Champagne,” which I think is a song about superficiality. The closer, “Strange Conversations,” is like something out of a goth prom night with its romantic bass line, slightly bright synths, and almost-slow dance drumming. Lyrics like “I thought I told you, I can’t stand anyone at all.” and “I’ve lost my patience. All you do is let me down.” also help boost the goth feel of the track.

The album mixes goth, synth wave, and no wave so well it’s difficult to tell where one influence begins and another ends, but who cares? Automatic blend everything so well that Signal becomes a lovely, hypnotic record that will surely be among my top releases of 2020.

Keep your mind open.

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