The best of them offer a seasick lurch of junglist breaks, screaming hardcore, and '90s industrial synthwork, all fronted by the half-yowled-half-rapped vocals of two distortion-shrouded imps. The 25 tracks fly by at a blistering pace, adopting new genres and sounds as each one passes by. They couple titles like "Sewer Cock" and "Lord Cam Girl" with lyrics about dripping bodily fluids, biting off dicks, and sticking crystals into your gaping holes. They swear they're not Kill Alters' Bonnie Baxter and Machine Girl's Matt Stephenson, but whether or not you choose to respect that bit of kayfabe there's no denying that this record is among the more tripped-out, unsettling, and otherworldly releases that anyone in that whole scene has been involved with.
Sajae Elderīordella Biledriver and Metatron Starsore - the apparent forces behind this new dastardly duo on Chicago experimental label Hausu Mountain - share initials with two of the more prolific figures from the crew of sludgy experimenters spread across the northeast who call themselves mutants. It’s easy to see why it was longlisted for Canada’s Polaris Music Prize back in 2019. “Earths give birth to fires, and that won’t change / the wind and water are in your veins, we’re all the same,” she raps there. An early release and live show favorite “555 (<3 Sprit)” finds Sydanie tackling spirituality and our connections to the world around us something we’re likely all reflecting on.
With call-outs to her Caribbean heritage sprinkled all over the record, (“I’m a jerk bitch, real spicy / Cool Ting going down nicely," she raps on “200K”), Sydanie flips between her mile-a-minute flow and toasting her neighborhood in the city’s west end.
With its tracklist of numbered titles, the project feels raw in the best ways: free-flowing and energizing enough to remind us of the late-night jams we’re currently avoiding. If someone made the perfect genre-bending rapping cyborg, it would probably sound just like this. “I’m never coming here without alcohol again,” she says at the top of “667,” playfully loosening up before laying into the track without needing so much as a breath or pause. Despite its digital foundations, Sydanie’s voice somehow adds an analog appeal, bouncing between smoothed out spoken word cadence and full-throttle bars. "I used to sleep in the T9 laundromat / Now they fly me out and pick me up and put me up,” she raps on “778.” Fast-paced and frenetic, the album rides a continuous pulse of thumping production - a collection of borrowed, synth-heavy house tracks - and races through the thoughts of an artist in flux. On 999, Toronto-based rapper Sydanie is careful to add dancefloor-ready hopefulness to lyrics about motherhood, loss, and success. But until then, it’s never a bad time to get stuck into AQOM. RVG’s long-awaited second record Feral is out later this year. Recalling post punk icons The Fall, as well as Australian heroes like The Go-Betweens and The Triffids, A Quality of Mercy is rarely anything less than a potent, thrilling listen. A Quality of Mercy is the band’s only full-length, but it’s a record that’s made them revered figures watching them at a rapturously-recieved show in Melbourne last month felt charged and significant, a cult moment in the making. It’s been reissued a few times now, and each time it’s felt like more and more people have grown to find - and love - frontwoman Romy Vager’s vicious, often beautifully lyrical skewering of carceral culture, tortured artistry, and unhealthy romance. It’s astonishing to see how RVG’s excellent debut A Quality Of Mercy has grown in popularity since it first came out a few years back.
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