H.Grimace – Self Architect
H.Grimace, post-punkers based in London, have issues with society and would like to tell you all about it. Singer Hannah Gledhill makes pointed observations and critiques on various types of social pressure, from image and power to work and identity. Y'know – big stuff. Musically, however, H.Grimace are mining familiar territory: heavy, twanging bass, carefully constructed shoegaze guitar squalls and vocals that rise through the mix to deliver climactic, repeated mantras.
This is a great formula – one that has launched careers since the late 70s – but, H.Grimace don't have the same bite as, say, Savages (their most immediately similar peer) or the musical variance of early pioneers like Wire or Public Image Ltd. There are plenty of fine moments on this album, and as a debut it's promising, but a creeping sense of monotony keeps Self Architect from reaching beyond the potential hinted at by earlier efforts and new single Land/Body.
The album's best moments come with two tracks that feature prominent spoken word sections. The first, 2.1 Woman, opens with a snarling, cynical take-down of the pressures placed on women from Irish poet/artist Vivienne Griffin. The second, The Dial, plays like an updated version of The Clientele's London-centric dreamweaving (e.g. Losing Haringey), but instead of quaint, autumnal reflection there is dismay, despair and no comfort in a lack of resolution, something that fits very nicely in the contemporary climate.
Self Architect provides a soapbox for H.Grimace, and they have plenty of important things to say. But, against the well-trodden musical ground, they veer between genuine social engagement, and simply howling into the void. Either can make a great record, but the lack of consistency begets a lack of cohesion, making for an occasionally spotty listen.
Listen to: 2.1 Woman, The Dial
Buy H. Grimace - Self Architect on LP/CD from Norman Records