Albertine Sarges — The Sticky Fingers (29 Jan., 2021)

GERMANY flag                                                                                   Albertine Sarges — The Sticky Fingers (29 Jan., 2021)
Podle Albertiných vlastních slov „triumfální odmítnutí spoluviny na systému, který nás ničí.“ Univerzálnost hudby může pro různé lidi znamenat různé věci. Pro Albertine Sarges — berlínskou hudebnici a producentku — je to plavidlo, které používá k sebezkoumání a růstu, nikdy předtím více, než na svém novém albu The Sticky Fingers, které vyšlo v Moshi Moshi Records. Po mnoha společných projektech, včetně projektů s Colinem Selfem a Holly Herndon (vítězkou Tais Awards), a vystoupení jako součást italského dua synth~wave Itaca, Albertine spojuje novou kapelu, titulární Sticky Fingers pro své debutové LP. The Sticky Fingers má své kořeny na jihu německého hlavního města — Albertine vyrostla v Kreuzbergu při pádu berlínské zdi a nahrává v nedalekém Neuköllnu — ale odtud její pobočky střílejí, aby zaujaly feministickou teorii, úvahy o bisexualitě, pohlaví stereotypy, deprese a duševní zdraví. Tato témata spadají pod neustále se měnící dýhu chameleonických popových motivů Albertine: od postpunkového a kaleidoskopického popu, inspirovaného Viv Albertine, po tichou hlasitou kytarovou bouřku a vokální akrobacii připomínající Merilla Garbusa.
Location: Berlin, Germany
Album release: 29 January 2021
Record Label: Moshi Moshi
Duration:     31:17
1. Free Today   5:34
2. The Girls   4:20
3. Beat Again   4:51
4. Oh My Love   4:52
5. Stille   5:20
6. Fish   3:51
7. Post Office   2:42
8. Roller Coaster   4:47Albertine Sarges
“Citing Viv Albertine and Merrill Garbus, Sarges audaciously blends itchy~funk, vocal gymnastics and feminist theory.” — MOJO ★★★★
“Makes me think of what Le Tigre might have sounded like had they moved to Berlin after their first record.” — Steve Lamacq
By Matt Cotsell ⌊29 Jan 2021⌋ Score: ★★★★½
Most pop music is factory made. It always was. Whether it was Bacharach and David, Stock Aitken & Waterman or whatever Swedish collective is currently doing the rounds, it’s descended into generic high fructose music designed by sub~ committee, indistinguishable algorithm and blues squeezed out to generate excessive profit margins for shareholders and app developers and placate the neanderthal youth who are yet to twig how great music can get when it comes from within.
For her debut album Albertine Sarges has taken a path against this grain to craft an intriguing and flexible record that feels genuinely expressive, witty and often heartbreaking, a whip smart rollercoaster that you can cry and dance to in equal measure.
Sharing its name with the band she occasionally plays with, the title of the album could as easily be a comment on the macho posing of bands like The Rolling Stones as much as a reference to the magpie nature of the Berlin born~and~based musician and her constantly evolving output. Although this is the first record put out under her own name, Sarges has toured extensively with Holly Herndon and also performs in the Italian synthwave band Itaca.
Beat Again is a spiky, elusive opener about finding that creative or emotional spark that resuscitates you after significant loss, as Sarges promises “Everyone hurts, I’ll look for your wounds and heal them”. Offering a commitment to reviving those who find themselves without purpose, it’s a gently slick slice of inspirational city pop. Cities and environments and the impact they have on human relations loom large across the whole album.
Post Office is a schizophrenic confection of self~reflective glam rock radio funk. Fish is a song about mundane pleasures such frozen bags of peas and lasagne in which Sarges sings “Can we meet at the public toilet, I’m with a big black dog,” admittedly not a line we’re likely to find coming from homegrown chart pestering pop bores. Elsewhere, on emotional power ballad Oh My Love, we get a namecheck for Kottbusser Tor station, home of the German capital’s laidback and welcoming bar Südblock, where hip locals congregate.
That sense of community and co~dependence is the other prevalent theme Sarges mines. Fan favourite The Girls is a joyously quirky and über camp ditty with a slippery bass groove about friendship and feminist solidarity. It’s wildly in debt to Tom Tom Club and photographer Lynn Goldsmith’s undervalued Will Powers project, with her backing group and various headless interlopers acting as a post~postmodern Greek chorus responding to wry observations. The revelatory Free Today sneakily appropriates and speeds up the intro from Talking Heads’ Psycho Killer and also chucks in a thought~provoking quote about feminist revelations by writer Sara Ahmed.
Bouncy, urgent and subjective, with this fascinating eight track collection Sarges goes far beyond the theory of the power of girlhood and dizzily practices what she preaches. — musicOMH