Musical styles such as gothic, industrial, and darkwave have always sat on the extremes of the music spectrum, scenes and sounds that are considered niche, underground, about as far from the mainstream as it is possible to get. But what Carrie Abyss shows here, and does so eloquently, is that with only the slightest sonic nudge, those sounds can be mixed with more accessible sonics to create something that is the best of both worlds.
“mass destruction (of my head)” juggles these different worlds and reminds us that, as the cliche says, opposites do attract! Abyss blends in some smoother, seductive, almost pop-aware (in the most complimentary sense of the word) post-punk textures without losing any of the dark charisma and slow burning, atmospheric menace of the more intense musical realms.
And so, over shimmering and shaded, brooding electronic soundscapes and some searing and incendiary guitar salvos, she spins out her intimate and intense lyrics, an almost Bjork-infussed blend of dark design and more mainstream immediacy—well, the more discerning end of the mainstream, at least.
We hear the term post-punk still being used as a term of reference, now more often as a style rather than a place in the timeline, but perhaps “mass destruction (of my head)” is the sound of what post-punk did next, post-post-punk maybe, the sound of what the underground did next.
This blending of underground atmosphere and more accessible sonics, music made somewhere between pop and a dark place, this music that could prove to be a sonic Trojan Horse smuggling its dark delights into the mainstream, is the reason why you will be hearing the name Carrie Abyss much more in the coming months.
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