Lady Lynch – Self Titled

Haunting to the point of being disturbing, sombrely magnetic to the edge of invasive seduction, the self-titled debut album from Austria quartet, Lady Lynch, is quite simply one of the year’s essential explorations especially if your appetite has a hunger for shadow fuelled, dangerously elegant post punk/no wave woven temptation.

Vienna hailing, Lady Lynch consists of Theresa Adamski, Philipp Forthuber, Lina Gaertner, and Christian Sundl. There is little more background wise we can tell you about the band but musically and especially with their new album, a flood of praise carrying words is unstoppable. Individual in character and imagination, their music is something akin to a fusion of The Passions, Au-Pairs, and Lydia Lunch trapped within the band’s own unique web of post punk/no wave taking in further new wave and punk hues. Across ten tracks it provides an inescapably hypnotic lure of brooding intimation and gloom cast atmospherics around riveting vocals as tendrils of sound unite their skilled monotony to seduce ears and imagination. With every listen it has become more impressive and irresistible, addiction rising by their side.

The album opens with Fundamental Friend Dependability. Rising from a sonic squall, the track swiftly drops into an espionage coated stroll, firm rhythms almost taunting ears as vocals and a cold melody entice. It took barely a rush of seconds before the song got under the skin, its sober hooks and participation inciting chorus welcome trespasses alongside the great vocals. A superb start, the track as many across the album suddenly comes to an end, almost as if the release has got bored waiting to uncage its next thrilling incitement but a conclusion which only adds to the drama and tension.

The following Cymbals initially chips away at the senses before sauntering through ears with a gnarly bordering on predatory bassline alongside steady but imposing beats. Tenebrific in many ways, darkly radiant in plenty more, the song matched its predecessor in rapacious persuasion before Schatten Island casts its black and white hued intimation. Drums again provide a bold and influential backdrop, the bass the dark drama while guitar and vocals spring cinematic adventure; it all uniting in a Gang Of Four meets Bauhaus like compulsion.

Through the metronomic swing of Ranciere, a hip manipulator with moments of corroded discord, and the chilling melodic twilight of Noon, captivation only tightened its hold though both songs are soon rivalled in magnificence by the Crispy Ambulance-esque City Falls and all are in turn eclipsed by the Athletico Spizz 80/Pylon flavoured Actors and Networks where rhythms again play the body like a puppeteer as voice and guitar toy with the imagination; it all manna for ears and appetite.

A whiff of Cauldronated accompanies the mechanised corruption that is Tiny Machine while Stairs carrying a similar scent is an escalator of passing shadows and dark contemplation. Both tracks just enthralled as too did closing track Hommage. It is the darkest moment on the album and it’s most beguiling, beauty soaking every unsettled silhouette and slim but richly evocative contour.

Within one listen we were fully ensnared by the album’s caliginous temptation and devious enterprise, its seductive disquiet just as irresistible as its invasion of the senses and thoughts. One word sums it all up, Stunning!

The Lady Lynch album is out now via Cut Surface digitally and on Ltd Ed vinyl @ https://cutsurface.bandcamp.com/album/lady-lynch-2

Pete RingMaster 01/11/2018

Copyright RingMaster: MyFreeCopyright

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