Guerilla Toss


Twisted Crystal


Tossing in earworm melodies to go along with the weird

by Jericho Cerrona embedded.jpeg

If slap bass isn’t back in vogue, no one bothered to tell New York new wave/noise band Guerilla Toss, whose latest album, Twisted Crystal, goes full bouncing fret on multiple occasions. Of course, getting out the funk, as it were, isn’t that surprising in this case. On their last record, GT Ultra, Guerilla Toss managed to dispel the notion that they had no interest in making pop music; (albeit pop music coded in acid), by cranking out some exuberantly fun tunes. Twisted Crystal is a far mellower listen, but no less bizarre; playing like psych new wave spun through a worn out VHS tape.

One of the major changes for the band (who have been kicking around since 2010), is the clarity of singer Kassie Carlson’s vocals. Of course, one listen to 2013’s abrasively bonkers Gay Disco and you can be forgiven for wondering if this is even the same group in terms of sound. Still, Carlson’s growth as both a singer and lyricist is probably the most forward-thinking aspect of Guerilla Toss’s recent move to DFA records; a label specializing in experimental dance music. In the past, Carlson couched her scrappy melodies behind reverb and effects, but throughout Twisted Crystal’s nine tracks, she allows herself less leeway in terms of fading into the background. The interplay between guitars, synths, angular percussion, and her voice is much more melodic here than on previous releases, starting with opener “Magic is Easy”, which sounds like 70’s funk rock recorded inside a fish bowl. Meanwhile, lead single “Meteorological” is easily the most straightforward her vocals have ever been as she adopts a spoken word style delivery reminiscent of David Byrne or Grace Jones, which is foregrounded by blipping sound effects, lazer synths, and a dancey backbeat.

Guerilla Toss channel more avant-pop on “Come Up With Me”, which feature that aforementioned slap bass, along with kitschy guitar leads, shimmering keyboards, and a killer chorus. Meanwhile, “Walls of the Universe” feels like a trip deep into the cosmos, with Carlson’s robotic vocals overlapping amidst spacey strings and synth crescendo. Is she disappearing into the nexus of the universe or simply enjoying the ride? The line between genuine introspection and winking pastiche is a fine one, and what’s so enjoyable about Twisted Crystal is the way it throws out philosophical ideas regarding the unknown without ever betraying the band’s vibrant aesthetic.

Twisted Crystal is undeniably a pop record, but one that takes its cues from 70s/80’s acts like Brian Eno, Laurie Anderson, Talking Heads, Kraftwerk, and Gary Numan. However, though Guerilla Toss’s influences are obvious, this is not some cynical pastiche job. In their own unique way, the band manage to distill the outlier tendencies of these aforementioned acts with the more accessible signifiers of modern pop. If Gay Disco and 2016’s Eraser Stargazer bombarded the listener with an array of conflicting sounds, then Twisted Crystal, and to a lesser extent GT Ultra, open their arms to melody as a defining trait. The sonic detail here is just as ambitious and overwhelming, but more focused on songwriting and less intent on blowing your hair back via sheer lunacy. And therein lies the album’s magic. It combines the whacked-out with the serene, the absurd with the reserved, the spiked high with the placid come down. And, less we forget, there’s that slap bass to contend with. There will always be that glorious slap bass.