Most of the arrangements on the band's self-titled debut alternately evoke Joy Division, Bjork, and Siouxsie Sioux. The problem is that Boose is inconsistent. In songs such as "Painkiller" and "Me Dot," she sounds terrific, channeling PJ Harvey with her visceral chants. But in "Rejection Perfection," a track that starts with an undulating synthesizer riff, she makes too many obvious (and meaningless) rhymes, pairing the word "perfection" with "reflection," "complexion," and "connection," and going on a self-indulgent rant that's as pretentious as bad performance art. She's equally out of her element in "Low Profile," a song that finds her bellowing "a,e,i,whoa,u" with intoxicated glee, and she's just as abrasive in "Cut Off Your Armslength," in which she experiments with vocal effects to such a degree that her echoing voice -- primal at its core -- sounds artificially enhanced in a way that suggests Critikill isn't always in control of the technology it employs.
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