I have no great wealth of adjectives for Women (the group, that is—the gender is another story). What I can say of “Can’t You See,” however, is that it is an apt introduction to the music of Women. Pat Flegel’s vocals are set awash under searing guitar drone and Matt Flegel’s pulsating bassline dispells any misgivings of unambitious, easily digestible music. “Heat Distraction” comes next indulging in a little more riff-based construction. The frolicking arpeggio highlights Women’s ability to drift between lighter and darker tones seamlessly. Pat’s disparate melancholy always keeps the band’s sound on (or off) course discoloring even the brightest of hooks. The solemn chamber pop quality of the vocals is, at times, just about all that separates this and other tracks from bubbly haze gaze—an important distinction. “Narrow With the Hall” enters fists full of lightning, throwing down thunderous drone cut with the clashing candor of the treble-heavy hook.
The thought that overwhelms all others pertaining to this album, at least for me, is, “thank you.” As much as I wanted to love the debut, I just couldn’t commit. “Black Rice” and “Shaking Hand” were phenomenal tracks, but other than that it felt like a more obtuse version of The Antlers’ Hospice. “Group Transport Hall” is a perfect example of what was so unfair about the record as a whole. It should have been my favorite track, maybe even better than “Black Rice,” but it taps out at a pitiful 70 seconds. Are you trying to teach me something about the fleeting nature of love and beauty or are you just screwing with me? You know Women, they can never just come out and tell you anything.
The fear of the sophomore slump is so real and pervasive that bands eschewing what has essentially become expected is exponentially more impressive than a great debut. In some ways it almost seems like a better idea for the longevity of a band to downplay an initial LP. The main difference between Women’s self-titled debut and Public Strain is not so much the parts, but how they come together. Untogether? Whatever. On the s/t, the music flails wildly between what is hard to classify as anything but laze-gaze and insurmountable walls of noise. It really seems like purposeful misdirection, though I cannot for the life of me tell you what that purpose is. Maybe it's just their way of distinguishing themselves as Canadians, god knows I wouldn't want to be mistaken for a Californian. Then again maybe this is exactly the sound that would be emanating from California if they had winter.
“Penal Colony” slows things down with more finesse than any prior track and feeds into “Bells” which seems like it should have an “end of side A” announcement upon completion. That’s not to criticize Women for predictability, but rather praising them for proper dispersion of assets. They’re finally using noise to enhance their dreamier pop tendencies rather than using it in the screeching halt way of the debut. “China Steps” brings back the heavy, laying down thick licks like so many bricks in construction of a sound that is finally their own. “Untogether” continues applying bald-faced discord to otherwise charming ditties in dramatic display of maturation. As exciting as the first side is, the second side tops it. “Eyesore,” the last track is the clear standout as a complete homogenization of everything that made the debut exciting. This is what makes me suspicious. Women, have you been holding out on us? How could it have all come together so easily like this? Like their namesake, Women are operating on a whole different level.
Track List:
1. Can’t You See
2. Heat Distraction
3. Narrow With the Hall
4. Penal Colony
5. Bells
6. China Steps
7. Untogether
8. Drag Open
9. Locust Valley
10. Venice Lockjaw
11. Eyesore
