The span of genres (punk, industrial, electro, europop) fit together in the sense that, if you were a fan of one, you were probably a fan of all of them, and the way they fit together in this album, created by just two artists, is amazing.
Muddy Distortion
I’m sometimes slow on the uptake with music that has been recommended to me multiple times by people I should listen to—ADULT. is a perfect example of that. Having been around forever and just North of me at that, in Detroit, all this time. So, here I am hearing them for the first time and my first reaction is, this is a punk record. Starting at the title track which is a stripped down classic punk track, built out of drum machines, an electro bassline and screeching synths that to my ears echo the wails of a muddy distorted guitar. The vocals over all of these tracks are delivered with absolute clarity and purpose in a manner that constantly brings to mind Exine Cervenka of classic punk rockers X (specifically think of Live at the Whiskey-A-Go-Go which was a favorite).
“Violent Shakes” further reinforces the punk rock sound here with another stripped down track full of razor sharp drum machine beats and twisting screaming synths, more headbanging than dancing here. Nicola shouts at us with absolute authority like a classic 80s front-man—like if Henry Rollins could escape his monotone shout. And then—suddenly, with “Silent Exchange,” the record becomes a sweet europop session, sounding distinctly like a dark and brooding German radio hit from the early 90s. It’s amazing how precisely they nail this sound after coming right out of a pounding punk track. It really sounds like you’ve just found some lost B-side from an obscure collection of old pop tracks. Nicola morphs her sound again to suit. If you’ve ever heard Grauzone, German punk-electro-rock band, this would be a perfect comparison.
Deep and menacing vibes
Next, “Perversions Of Humankind” is a brilliant transition from brooding pop to dark gothic rock in the vein of Sisters of Mercy or Die Krupps, so natural sounding and yet—how do they do it? It’s the same stripped down kit, subtly morphed into a slow, deep and menacing vibe, seemingly effortlessly. All of these tracks somehow feel like a coherent whole. What I love is that the span of genres fit together in the sense that, if you were a fan of one, you were probably a fan of all of them, and the way they fit together in this album, created by just two artists, is amazing.
Now we’re onto “Irregular Pleasure,” a pounding industrial number that captures all the energy of Nitzer Ebb or Front 242 performing live. Pounding dark dance number you’d play in a warehouse at 1am, Adam morphing the sound of his minimal kit yet again to seamlessly swallow another genre.
Slow-burning hidden melancholy
The next side starts with a classic dance number (“Does The Body Know?”) that could be old Prodigy or New Order, upbeat, shiny and sounding completely natural. Then suddenly “On The Edge (You Put Me)” starts and I’m back in some tiny club listening to a punk band perform in 1998. This song is all drilling repetition and insistent vocal chanting, one of those peak-time tracks that makes everyone jump around chanting along until they are exhausted, like a religious cult experience. Finally, the track I’ve been waiting for this whole time kicks in. “Lick out the Content,” the crown jewel of the album, which I’ve listened to on repeat many, many times. A screaming synth starts wailing a beautiful distorted chord as Nicola insists we “Take it away, take it away, I’ve had enough!” This is a classic dancefloor track, you can’t avoid moving to it, bringing together the long-stare, slow-burning hidden melancholy of the album in a track that’s simultaneously a pop chart hit and a sizzling underground legend.
“Everything and Nothing” rinses out any energy you might have left after all that, to me it sounds like a wedding of Genesis P. Orridge and Throbbing Gristle-era droning vocals, like chants, over another slow burning hypnotic mind-drill of a track for those who’ve made it this far, preaching to the faithful. “In All The Debris” then is a sober parting dirge for your wrung-out mind and ears. Slow and brooding, Nicola becomes an insightful Blixa Bargeld exploring mortality over a bed of severe, dark synths.
And that’s it, then it’s over, and you’re left in a daze, wondering what just happened to the last hour.
This Behavior is available on Dais.
