20.

Chemtrails

The Joy of Sects

First up this year is a record that’s difficult to classify. The Joy of Sects (not sure if I like that title or not, but I’m gonna go with it) is Chemtrails’ third release, and their first album to step beyond their previous unpolished approach into a shiny world of production. It’s a record that’s musically schizophrenic, jumping around pop-punk, B-52s-style new wave, the surf rock side of the Pixies’ golden era, disco, power glam, and psychedelia. It’s all held together by a commitment to bouncy hooks – however they may come – and by the constant presence of the distinctive twin helium vocals provided by Mia Lust and Laura Orlova. Those squeaky voices are, I suspect, going to turn some people right off this record, which would be a shame because for me they just help Chemtrails feel, well… something a bit different. The record’s lyrics are appropriately calibrated to its music – everything is wry and tongue in cheek, but it’s also all masking substance. There are reflections on the modern rat race (via some twisting of the words to a Boney-M classic: ‘they call me ra-ra Rasputin, rushing all the time…’), techno fear, and some personal reflections on the challenges Lust has faced as a trans woman. On the latter, the fact that Chemtrails have been active supporters of trans rights (appearing at trans events, etc) has made them a target for hate in recent years (sigh). The fact they’ve responded to that b/s with this unapologeticly grandiose, smeared-lipstick candyfloss explosion of a record is something to be celebrated.