Emily Littler of Street Chant has put forth her solo EP as Emily Edrosa. Flitting between delicateness and avant-effrontery, Emily Edrosa has created a peculiar but brilliant release of skewed and insular weird-pop.
Huzzah, my second post about a New Zealand musician! I am getting worldlier by the fortnight. Emily Edrosa is Emily Littler, member of Street Chant – an Auckland trio that has played since 2007 and have put things out through great labels such as Flying Nun and Arch Hill. Street Chant put out an EP last year, so I would assume they are still going. Emily however, is putting out some new solo stuff and it’s great.
This self titled EP is an independent that is the second from Emily (after previous effort, Body/Christ), featuring a lot of coolly-bizarre noise-pop – fast and slow. An accomplished guitarist, Emily churns out some really great sounds from her instrument throughout the six tracks.
‘Animal’ is the song that caught my attention first, a strange number and one of the most intriguing on the EP. It dips the mind into a different space as it opens with a rapid drum machine beat before a warbling, distorted lick earworms into your brain. With emotionless vocal delivery, Emily details some online stalking gone a bit too far – unhealthy, yet willing, subservience. It’s a creepily great track, and an interesting choice to open up her solo EP.
The other tracks examine several interesting ideas, possible misguided religious dependence (‘Jesuss’), the early days of relationship, the risks and the social scrutiny (‘Corner of the Party’) and the internet and the bizarre behaviourism that ensues from overuse (‘Animal, ‘Behind yr Back’). If I am wrong here, someone let me know. The songs communicate a culturally-savvy outlook at life and what’s in it, rippled with bite and snappiness and a dash of humour.
Flitting between delicateness and avant-effrontery, Emily Edrosa has created a peculiar but brilliant release of skewed and insular weird-pop. It flows well and sounds great thanks to Emily’s creative guitar work. The music moves from balladry to glitch-rock, yet the constant is always Emily’s vocals and her guitar which – combined with her unique worldview – are the major drawcards of her solo work. She has managed to cover a lot of bases in six tracks, the only drawback being that it can be hard to get a grip on her style as well as she probably wants us to see it. The easy remedy is an album, which I will be eagerly awaiting for. This is a great collection of songs from an artist whose back catalogue makes me think “well, of course” but her future makes me think “I wonder…”