Last month, I wrote about the Chicago, IL-based post-punk act Ganser, and as you may recall the act, comprised of Alicia Gaines (bass, vocals), Nadia Garofalo (keys, vocals), Brian Cundiff (drums) and Charlie Landsman (guitar) formed back in 2014 — and with the release of their debut EP This Feels like Living, the quartet received attention locally for a art rock-leaning post-punk/noise rock sound that was influenced by Sonic Youth and Magazine.
The Chicago, IL-based post-punk quartet’s forthcoming, full-length debut Odd Talk is an April 20, 2018 release through No Trend Records, and the album reportedly focuses on communication breakdowns — with the song’s narrators desperately seeking meaning in confusion and messiness, as though they were figuratively sorting through syllables and signals to find the right words to say what it is you want or need to say. Album single “PSY OPS” found the band walking a careful tightrope between angular Wire-like post-punk and the furious, bruising punk of Memphis‘ Ex-Cult and Nots but with explosive bursts of discordant noise, and the whole thing was held together by a rhythm section that was propulsive, frenzied and yet strangely danceable. Over that, Garofalo shouted and barked lyrics that sounded and felt like absurdist non-sequiturs.
Odd Talk’s latest single “Avoidance” is arguably the most decidedly straightforward post-punk songs they’ve released as it features propulsive and angular bass chords, slashing guitar lines, tribal-like drumming and blasts of synths over which Garofalo’s voice rises and falls with increasing frustration, followed by a weary sort of acceptance. Interestingly, the song is about the sharp pain of miscommunication with someone you love and the exhaustion of trying to be understood when your language is just completely wrong. And ultimately, it makes communication and trying to be understood absurd and pointless.
Centered around edited stock footage taken from 60s and 70s B movies, the video features classic muscle cars racing in a desert landscape towards an unknown end further emphasizing the absurdity at the heart of the song.