CLT DRP’s debut album Without the Eyes is out now.
Jesus. Jesus Christ. I’ve just fallen into Clt Drp’s album Without the Eyes, released through Small Pond on the 13th of August. This album is a complete monster. I should be reviewing another album but this has literally got me so excited I’m perched by the window, chain smoking and messaging as many people as I can about it. This Brighton trio have birthed a contrite, acute and characterised attack, a beast that goes to the pocket to pull out a vintage Japanese kimono handkerchief to wipe your blood off its face because it is so done with your shit. It’s like catching Death Grips and Be Your Own Pet fucking over a bin down Brighton lanes at 6 am on a Sunday. It’s passionate, sexy, shocking, experimental and almost too much at times. All I’ve got is words from a slack jawed idiot who is sincerely blown away, you have these beautiful ears. This incredible brain. Go listen now. Right now, and we will continue to digest together. I’m sweating.
So, here we are. Sweating together. Firstly, the artwork, visceral hands with painted nails grip at flesh. This acts as a fantastic prelude, point of reference. It’s perfect. The album starts with a nice little introduction, a helium infused explanation of pronunciation of the band name. Fun, not too serious, like it, LIKE IT. Now let’s get our heads smashed in with some music.
Synchronicity. It’s a beautiful thing. Powerful. Classic. Clt Drp open with exactly that on ‘I Don’t Want to go to the Gym’. Drums and some filthy noise work in unison but what really hits is the pure silence. The vocals of Toronto born Annie Dorrett enter with distortion and start with a control that puts you at ease, holds your hand and walks you into what Clt Drp truly have to offer. Crushing, heavy, filthy and danceable electro experimentation with punk at its core, both of attitude and musicality.
The vocals on this album are second to none. The character, crescendo and explosiveness of ZOOM 20 is primal. Terrifying. Throughout the whole album, we are pulled in with the beautiful female vocals of Annie and fisted away with sheer untethered frustration and rage. The wonky, musically considered and sudden attack of guttural, industrial noise sounds from Scott, sitting with live percussion of Daphne work alongside this perfectly, and I mean perfectly. Clt Drp build together and explode together. You simply have no choice but to be dragged in. You’re a hostage. Throw me in the boot of your financed car Clt Drp, beat me with your translucent, glittered and barbed bat and throw me off beachy head, I love you.
Comparatively, we’ve touched on Death Grips. The experimentation whilst still having the beating heart of punk and generally heavy music is the reason for that. Does This Offend You Yeah for danceability. I’ll throw Peaches in there too, there’s a subtle nod in the lyrics of ‘Where the Boys Are’ to that. The attitude of the vocals, the subject matter and delivery take me to Jemina Pearl of Be Your Own Pet, Karen O of Yeah Yeah Yeahs (especially ‘Seesaw’), Bikini Kill, Deap Valley and even Nick Cave’s The Birthday Party. There’s a freedom and unchained element to the vocals, the whoops, growls and off kilter notes reminds me of the fellow Brightonians efforts all those years ago.
My standout track is the absolute whoppertron ‘Where The Boys Are’. It’s a little bit like the more violent parts of Jack White’s brain in a fight with Mr Oizo. The punch of the drums stands out, fills the room and highlights the justice that’s been done to this project in production. The patient build to a mountain of sound. The anthemic feminist lyrics, the sincerity and slight madness of the delivery. It is huge. Full of Hell would be proud of the riff at 2.30. Ultimately the whole album is my standout track. It’s swept me off my stupid feet. Thank you Clt Drp. God, I miss live music.