After being inside for 371 days and counting, something I’ve been incredibly grateful for is being able sit down and voraciously consume as much new music as humanly possible. And one of the most valuable discoveries I’ve made has to be the radical and forward-thinking Los Angeles queer art punk quartet, French Vanilla. CLRVNT has described French Vanilla as a group “that takes a dissonant, politically-minded approach to no wave that hearkens back to the genre’s glory days; think Bush Tetras after a weekend of binge-reading Audre Lorde and taking saxophone lessons.”
French Vanilla began making waves on the L.A. DIY punk scene when they released their self-titled debut album in 2017, and have since toured with the likes of Girlpool, ESG, and Cherry Glazerr.
French Vanilla’s sophomore album, How Am I Not Myself?, was released in 2019 and produced by Sean Cook, who also produced and engineered St. Vincent’s MASSEDUCTION. The album combines infectious guitar and sax leads with idiosyncratic rhythm sections and a radical political literacy that is not too dissimilar from their Washington, DC contemporaries, Priests. The group does a sublime job of combining jittery post punk vocal stylings and instrumentals a-la Essential Logic and Suburban Lawns, with politically-conscious writing and outrageous performance art similar to ’80s queercore artists like Vaginal Davis.
With the whirling vocals of frontwoman Sally Spitz, and playing that juggles the sonic energies of new wave and minimalist art punk, the band sounds like the love child of the B-52s, Le Tigre, and Bush Tetras. Combining a danceable, saxophone-laden groove with feminist nursery rhymes, How Am I Not Myself? both revels in absurdity and interrogates the heterosexist power structures in an oppressively patriarchal society.
The song “Bromosapien,” finds Spitz flaunting her signature caterwauling against Daniel Trautfield’s crisp saxophone leads, with lyrics that rail against misogynistic institutions that strip away the autonomy of young women and girls (“How do I know you are sexist?/Because you’re ego is so delicate”). The instrumentation on “Lost Power,” draws contagiously twangy leads from lead guitarist Ali Day, while Spitz unpacks the paranoia and sense of lost identity that comes with being in a visibly heteronormative relationship (“All night I think I’m sick/Losing color and I’m falling quick”).
“All the Time,” boasts bouncing, brassy instrumentals that stand in stark contrast to the serious lyrical subject matter. Spitz’s robotic vocal stylings hearken back to early DEVO records, while the lyrics find the song’s narrator fighting for self-actualization through the act of attempting to please others, whether it be potential lovers, friends, clients, or families (“Oh, I wanted you to see, you to see/Everything that we could be, we could be”).
On “Joan of Marc by Marc,” the band does their best Josef K impression with rapidly jangling instrumentals. The narrator of the song feels corrupted by their unrelenting libido as they find themselves in a tug-of-war between their attraction to men and women, while simultaneously struggling to fight off the heteronormative dogma that forces women into subordinate roles in heterosexual relationships (“I gag on the ordinary”).
Writing songs about the intersection of the personal and the political in a way that makes listeners want to burst out dancing is never an easy task. French Vanilla’s How Am I Not Myself strikes the perfect balance between seriousness and whimsical satire with relentless energy, textures, and bright color palettes.