Over the course of three albums, the Los Angeles-based noise rock trio, Froth comprised of Joo-Joo Ashworth, Jeremy Katz and Cameron Allen have developed a reputation for restless experimentation with forays into shoegaze, psych rock and post-punk — but interestingly enough, their fourth album, the Tomas Dolas co-produced Duress, which is slated for release Friday through Wichita Recordings reportedly finds the band stepping out from the shadow of their influences and crafting a sound wholly their own with the material being unapologetically experimental yet accessible. In fact, the album’s material incorporates analog synthesizers, overdubs and drum machines, along with traditional rock instrumentation.
“77,” Duress‘ second and latest single is centered around shimmering arpeggiated synths, bursts of feedback, a motorik groove featuring a sinuous bass line and shuffling, four-on-the-floor-like drum programming paired with ethereal vocals. And while recalling Trans Europe Express-era Kraftwerk, Lodger-era Bowie and Suicide, the eerily minimalist track possesses a murky vibe.
“Toward the end of the album, Tomas and I were really digging deep into my voice memos trying to see what was worth making into a real song,” the band’s Joo-Joo Ashworth recalls in press notes. “I had him play bass and synth while I sung and played some guitar. Only with Tomas would we ever come up with an odd timing song. The lyrics are mostly about when I was living with my parents for a couple months after I got kicked out of my apartment by an evil landlord.”
Directed by Shane McKenzie, the recently released, lysergic visual for “77” is centered around glitchy, neon-colored, VHS glitchiness. “We’ve known Shane McKenzie (Shake Chime Zen) for a long time, he’s always doing analog projections at shows around LA. We liked his VHS vibe and thought it would be fitting for the ’77’ video. He was able to match the analog glitchiness of the song with the way he processed the video. Other than that, it was inspired by scenes from The Eric Andre show and some of R. Stevie Moore’s VHS videos.”