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“Donner” is Debby Friday’s answer to the question about the genre in which she is at home. And that she makes aggressive music because she is an aggressive woman, as an expression of resistance. Indeed, the Toronto-based, Nigerian-born musician rampages through an electronic whirlwind she ignites with art-rockers Holy Fuck’s Graham Walsh in the no-man’s-land between Beyoncé’s mansion and Trent Reznor’s industrial ruins.
Far away from effectively pimped high-end R’n’B, she conjures up a rare grooviness from industrial and techno and thus leads the Nine Inch Nails into the club. This woman slips into 127 different costumes, from the sweet soul chanteuse to the bitchy rapper to the deeply pitched horror figure, in one of her roles she even sounds like Alison Mosshart (The Kills). Like on the slow-stomper “What A Man,” where the beat drags like a lumbering horse through stray guitar drones from the 80’s “Final Countdown.”
And then again, in the enchantingly eccentric lead single “So Hard To Tell,” Friday reconstructs sweet early ’70s soul with elegantly hopping beats. Experiment doesn’t necessarily mean processing the sound of fingernails into crunching beats, it’s also experimenting when you think of seemingly incompatible things together. That’s exactly what makes Debby Friday great.
Author: Michael Prenner
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