Secret Meeting score: 80
by Phil Scarisbrick
Initially a stage name for frontwoman, Jilian Medford, IAN SWEET expanded to a three-piece for 2016’s debut album, Shapeshifter. For this sophomore release though, Medford has returned to being a solo act, working with producer Gabe Wax. As well as producing records such as Soccer Mommy’s superb debut, Clean and Beirut’s No No No, he has also engineered albums by the likes of Cass McCombs, Fleet Foxes, Deerhunter, The War On Drugs, and Adrianne Lenker’s wonderful recent album, abysskiss. This extensive experience with envelope-pushing acts has clearly been utilised on this new record, Crush Crusher.
The issues explored on this record clearly informed Medford’s decision to return to being a solo act. Looking inwards for inspiration she delves into her own issues with self-image, self-worth and a responsibility to others. Album opener, Hiding, sees sparse verses give way to huge, explosive choruses as Medford sings “I forgot myself in you”. This lament on getting lost in other people’s mess and forgetting to look after yourself is a powerful introduction to the record. It displays Medford’s willingness to unveil and ultimately own her vulnerabilities.
Spit evokes The Breeders as it buzzes along with a wonderfully crafted dynamic that allows Medford to explain her inability to enjoy things in the moment, as she focuses on the negative. Holographic Jesus again sees the writer exploring her own neuroses as she reflects on her time living in Brooklyn. Once again, Medford and Wax have been able to create an interesting and dynamically-pleasing composition, that almost trips over itself at points as Medford sings “The sun built me to shade everybody”.
When I noticed that the three singles were the first three songs on the record, I was worried that it may be a little top-heavy, utilising the ‘three/four singles then filler’ technique that labels have used to churn out endless chart pop over the last few decades. My fears were quickly abated with Bug Museum, a reflective, electronic-anchored sojourn into Medford’s self-analysis, berating herself for past mistakes as she sings “Lost in the bug museum again/Wish I’d be a better man/But I’m too scared of getting bit/By what bites harder than I can.”
The album’s title track is driven by an electronic beat, with guitars caressing the rhythm as Medford’s Bjork-esque delivery is one of the finer moments on the record. There is a real feeling of drama here, making the song utterly compelling. Final track, Your Arms Are Water, really reveals the thread that runs throughout the record most overtly. It is so easy to be distracted by dealing with other people’s mess, that you lose sight of your own needs and ultimately suffer because the concern isn’t reciprocal. It also reflects on the beauty of these relationships, even though they’re ultimately doomed as she sings – “You are the beautiful half of everything/Your arms are water, always swimming”.
Crush Crusher is a record that you can’t help but get hooked in by. The earnestness with which Medford shares her inner feelings so freely really connects. The sublimely crafted compositions allow the music to underline the mood throughout. Although there is a lot of darkness on this record, there is always a caveat of hope and beauty. This record may fly under the radar, but it deserves to be heard far and wide.
Want to keep up to date with all our latest pieces? Follow us on social media…
