SLuG’s self-titled debut makes for an occasionally beguiling, often frustrating listen. Comprising ex-Magma pianist Emmanuel Borghi, vocalist Himiko Paganotti, and multi-instrumentalist John Trap, the band specializes in a decidedly off-kilter brand of pop: cutting gloomy synth- and guitar-fueled melodies with elements of noise, trip-hop, and musique-concrète. Unfortunately, for as odd as many of these songs are, they too seldom add up to much that is surprising or illuminating. SLuG’s raison d’etre seems to be to combine the dark gothic romanticism of The Cocteau Twins with the sultry groove of bands like Portishead. But while a cursory glance at song titles like “I Cannot Sleep in My room” or “Dead Trees” will tell you that they’ve got the “darkness” part down pat, the groove is sadly lacking.
Although Paganotti can muster a luscious alto when she wants to, the music behind her often sounds thin or sparse. These are melodies that call out for an enveloping wall of sound, but often come clothed only with a rudimentary programmed drum beat and a light sheen of synthesizer.
There are times when SLuG’s penchant for melodrama meshes perfectly with their bizarre eclecticism. For example, the eerie album opener, “The Voice Beyond the Screen,” channels one of the most iconic images of Tobe Hooper’s Poltergeist with little more than a tinkling xylophone melody and Paganotti’s emotionless intonation. Similarly enchanting is “Shelter.” Opening with a sample of young Pearl Harper’s song from the hallucinatory river scene in Charles Laughton’s Night of the Hunter, the track unfolds like a sinister lullaby, a promise of safety undercut by an unspoken threat of violence. John Trap winds the song to a close with a sinuous bass line and a twisting wire of radio white noise, while a female voice chants “Beware of his evil hand” in a full gospel wail.
Unfortunately, such moments of perfect chemistry are undercut by tracks that are lackluster, or even abrasive. Lead single “Speed and Joy” is a burst of energy and, by all rights, should be a welcome change of pace to an album that’s too often glum and somewhat… well… sluggish. But an obnoxious falsetto and irksome vocal manipulations mar Paganotti’s typically smooth delivery and make this one of the most difficult songs to listen to. Then there’s the problematic lyrics of “Grey:” “There is no black; there is no white/ Just the grey/ There is no good; there is no evil/ Just the grey.” Triteness aside, the sentiments of this song seem downright irresponsible. I mean, I get that in the post-George W. Bush “If you’re not with us, you’re against us” political climate people are looking forward to a more nuanced view towards morality, but “no evil?” Really? So how do you classify acts like the Rwandan genocide, the Mai Lai massacre, and the Holocaust, just to rattle a few off the top of my head?
SLuG is a musical project of some promise, but it’s just not fully coming together on this album. A fuller production and a little more variety from track-to-track could have worked wonders here. For a bite-sized sampling of all that’s best and worst of SLuG, you can track down the “Speed and Joy” single. It comes with the excellent “The Voice Beyond the Screen” as a B-side, and features two indifferent remixes by John Trap and Tepr.
1. The Voice Beyond the Screen
2. I Cannot Sleep in My Room
3. My Dear Hunter
4. Shelter
5. Sad Beat
6. Dead Trees
7. I Can Share This Space
8. Speed and Joy
9. New Day
10. Grey
11. Like a Friend
More about: SLuG
