“Movement is too expensive / breathing is cheap…for now.” Surreal, theatrical, crypto-autobiographical and unexpectedly SLAMMING techno-pop meditation on gender, work and the fraught and perma-compromised act of mere BEING in the late capitalist pleasure-palace/prison. Tons of fun but with a simmering rage just below its surface, Bad Woman seems almost too good to be true – how has Céline Gillain gone from one (admittedly ace) 7” on Lexi Disques to this full-bore future-classic LP which, from its amazing/'orrible Snapchat-filtered cover art and oversharing lyrics on down, speaks to and embodies the present condition in all its garishness and confusion and awfulness while also, somehow, being GOOD.
Gillain's vocals, delivered in a vinegary and volatile English (managing to sound vulnerable and feral and vampish and alien-nation WISE all at once...Grace Jones came to mind a few times) are a joy, performing (and parodying and dismantling) at least half a dozen typical “female” roles along the way, but honestly, like Phew's first LP (!) or Lolina's The Smoke, none of this would land so well if the production wasn’t as staggeringly on-point as it is. Spiritually it harks back to that early 2000s sweet-spot when front-line minimal techno and electroclash converged with a mutant/art-pop impulse in the work of people like Safety Scissors, Soft Pink Truth, Gudrun Gut, Felix Kubin - but updated with 2019-calibre rhythm/bass weaponry and armour-plating … seriously these tracks are heavier, sparser, steelier, GULLIER than you'd ever expect – euro-dance mascara running to reveal the kind of ruff, succinctly psychedelic soundsystem-techno stylings you might expect from, I dunno, a Batu or a Heith. BAD WOMAN indeed. Such a killer, listened to little else all week, don't say we didn't tell ya>>>>>>