We live in a post-genre era. But the voltes that the London-based Modern Woman put down on their first work initially catch you off guard. They want to bring opposites together, says Sophie Harris, when her solo project Modern Woman began. So it starts with a booming guitar and a powerful, primitive rhythm section, which is hijacked by Harris’ energetic delivery between spoken word and musical theatrics. The only vague term that remains is art rock.
It makes sense to buckle up for this rollercoaster of fascination and irritation
Bandmate and experimental composer David Denyer apparently also had an important hand in the game, enriching Harris’ harsh guitar textures with violin sounds or playing chamber music around the more idyllic moments. It’s a good idea to play around, because JOHNNY’S DREAMWORLD often seems primarily like a vehicle for Harris, who, as a charismatic mixture of poet, shouter and musical theater actress (Kate Bush, anyone?), reigns over a collage of post-punk intensity, noise-rock noise and folky-pastorales.
Not every song causes whiplash: “Blessed Day” is catchy garage rock, “Daniel” and “The Garden” are graceful art song ballads with a Joanna Newsom touch. But buckling up makes sense for this rollercoaster of fascination and irritation.