The fourth album from the Anglo-Philippine singer and guitarist confirms her deftness in rock crafted from unsettled moods.
Having just passed the quarter-century mark, Beatrice Laus can already pride herself on nine years of a career, since her debut single, the antifolk showcase Coffee in 2017, and three albums shaped by a long practice of the violin. But without losing sight of the guitars of Sonic Youth or the Yeah Yeah Yeahs, which colored her London childhood. For her fourth record, Pylon, a reference to the various stages marking our respective life paths, she decides not to choose between grunge, folk, post-punk, or FM rock with a 90s tilt. She even assembles a cast as disparate as it is joyful: Hayley Williams (among others known for Paramore at the mic), Brendan Yates (Turnstile, what else), Matty Healy and George Daniel of The 1975, or Chino Moreno’s Deftones.
Equipped with bone-dry melodies and a nonchalant irony, Beatrice Laus also does not wish to sidestep her anger in favor of a serenity that, for now, is not quite on the agenda, or of the euphoria that seizes her when love deigns to appear less arduous. “I don’t know if I’m your type, but I don’t really mind”, she sings in the sun-drenched Memories. Without making a show of it, Beabadoobee nevertheless hits her target: drawing with riffs a safe place that is playful and furious, sensuous and melancholic, abrupt and unifying.
Pylon (Dirty Hit/Interscope Records/Universal). Out on September 18. A show at the Zenith Paris-La Villette, on November 30.
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