Lyrics about murder aren’t so hot at the minute, so they’re welcome here. The mutant dub of opener Minger sets the tone for the record – Susanne’s detached vocal barely gets above a mumble, while the wobbling bass and rattling drum kit pound out a fat groove. But music that challenges rather than sympathises will always leave pissed off listeners and baffled reviewers in its wake. The music is where most people find fault with No Bra – because her reputation as an artist, her previous collaborations and her list of influences are all flawless. Oberbeck’s confrontational tendencies were first showcased on 2006’s long-player Dance And Walk and 2009 single (and Suicide cover) Super Subway Comedian, which she produced as part of the ongoing tribute to Alan Vega, in honour of his 70th birthday.
Lou dog sublime free#
And it’s coughed up this new work hot on the heels of love: raised on a horrid diet of free jazz, No New York and industrial grinders, this creation is just as happy sitting and playing with sunny pop hooks and dubby bass, all the while nurturing the mental scars of the malevolent exploits of auntie Genesis. No Bra is ‘gay icon’ Susanne Oberbeck’s baby. You have a friend, right? A friend that digs Throbbing Gristle, and could proselytize and preach and honk and howl about how 20 Jazz Funk Greats is the pinnacle of their artistic synthesis of aggression and desolate ennui? Do they also like JG Thirlwell, Nico, James Chance And The Contortions, early Lou Reed, Lydia Lunch and a whole heap of other hip noise terrorists? Find out if they do – firstly to congratulate them, and secondly because No Bra, the project of one shirtless she-devil, is their new favourite thing.
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