Echoing social injustice, deep rooted political matters and the personal isolation that can come with such matters is a brave, determined move by an American group – particularly when it exists upon on the cusp of one of the most interesting political dilemmas that has ever graced the nation. As far as album titles go, United Crushers is not just the grain mill in Minneapolis, as a title in itself it certainly brings about imagery and connotations to a) the United States and b) the crushing demeanour it can pour upon its citizens. The album cover which depicts a stark and oddly disturbing image of a pregnant woman, covered in some lurid, fluorescent pink gloop is instantly alarming and perhaps probes the notion of anxiety and unrest that Poliça are willing to challenge in this album. However, when bands insist on such political albums as Poliça did in their press release, you are kind of on the back foot from the start. Politics is a challenging and divisive topic and walk a very narrow tightrope, to execute them in an artistic form, particularly music is a skill that very few have mastered.

Album opener, ‘Summer Please’ drifts in between ambient synth pulses and pauses to linger letting Chris Bierden’s voice cut through in a muffled manner. In an almost inaudible fashion, you can pick up on traces of the message that he is trying to deliver through gaps; the opening line sets the mood for the song and perhaps the album with its stark, nihilistic outlook: “Whatchya wanna be when you’re big enough to see it’s all shit.” From here, the constant repetition of the phrase, “It’s all shit” lingers around every verse, echoing through your mind in some sort of uncanny student-teacher style that your future is nothing. As the song progresses, Channy Leaneagh joins in, playing with the notion that when “I’ve got mine, I’ll be fine” and from here you can begin to grasp the serious nature of the conversation that Poliça are wanting to have with their audience. It is good that a group are wishing to challenge lyricism in such a way, social injustice is relevant here, apparently in light of domestic abuse as Leaneagh suggests:

“There’s no story that can tell
A reason for a man to hit
His woman in the face
Child finds the exit
Never sees her face the same way”

A desolate outlook is contrasted with industrial drumming and a synth pop pattern, a surprising conflict between sound and lyricism that leaves you emotionally isolated, half caught between horror and euphoria.

As the album progresses into the tribal rhythms of the lead-single ‘Lime Habit’, Leaneagh’s voice plays around with concepts away from social injustice. It falls slightly flat as far as singles go, a lack of melody means that it never really develops too much of a hook. ‘Someway’ makes up for this though, with its light electronic stabs throughout, that really play with the delicacy in Leaneagh’s voice – it falls not too far from the Lana Del Rey tree, floating voices tie in so beautifully with synthesised samples as dark imagery wraps its gloomy arms around: “She tries to train the rain to fall on her head / Soaked in and dripped thin.”

‘Wedding’ perhaps sees Poliça climb to be at their most political on the album. Pummelling beats set the angsty, frustrated tempo for the song as Leaneagh yells in a protesting manner:

“All the cops want in
Brim Brim when we lose they win
Saying hands up
The bullets in”

A topic that is currently reaching fever-pitch in the United States, a topic that looks never to be set or organised however, Poliça are making clear they're thoughts on the matter. Poliça stand at their most determined and perhaps, their greatest on the album within songs like ‘Top Coat’ that turn away from lyricism slightly, focusing instead on the musicianship within the songs. It is songs like ‘Top Coat’ that allow Poliça to be at their finest, showing the deep, dark brazen bull that lies below the surface. Lyrics are left slightly more absent, however it is their absence that allows the music to really swell through, huge synth and bass burns through the surface demonstrating the musical talent within the band.

‘Lately’ draws on notions of being the break-up song on the album, oddly turning away from scorn and resent but instead focusing on nostalgia and perhaps the reflective shoulder look at positive times:

“Irreversible damage but it’s good,
I’m good,
Seems like we’re too comfortable in love,
Seems like this’ll be good for us”

The lyrics fall in track with the general feel of the song too, it’s gentle, a step away from the abrasive ‘Top Coat’ instead opting to rest upon gentle melodies.

‘Fish’ is a thrust back into isolation and more morbidity with its repetitive lyrics and a slightly more electronic, sampled drum beat. Once again this emphasises the lonely message of Poliça’s United Crushers It begins to drift into obscurity with its undercutting bass grooves that are sporadically littered about, you question what this song offers other than more self-loathing and ambient synthpop. The bass licks are plastered around and don’t seem to bear much relevance. ‘Berlin’ adds tangibility back to this however as the bass rumbles from the start, driving and pointing at all times, this time rather than being thrust into the obscurity of synthpop, you find yourself with something a little more engaging. The darkness still lingers however as haunting keys swell around and interesting rhythms tap away in the undercurrent. A theme that is dragged into the album closers such as ‘Baby Sucks’ that is as explosive and compelling as its lyrics suggest, catching you on the chin with a right hand as Leaneagh laments:

“I don’t need your money
I don’t want to know who you know
All my dreams they died locked up
Giving you less with each note”

As an album, the general theme of United Crushers is obvious from the off; it is an album wrapped in scorn and melancholia as well as really, really wanting to make a comment on things that are socially relevant. The political credentials are questionable and the social injustice concept is something that Leaneagh has pitched on an exceptionally personal level, hitting through her own heartbreak more so than anything else. Perhaps this is for the better though – politics, as mentioned previously are a touchy matter, particularly in America right now therefore limiting them was maybe for the best, especially if it was to be a vent for personal matters. As far as music goes, the lyrics certainly draw more importance here than anything else and at times, this means the music stutters, often acting as more of backdrop for the poetics of Leaneagh. An interesting concept if there is enough variation but unfortunately with Poliça, this is something that they do not offer all the time – however, throughout 12 tracks, they manage it for the vast majority. This is not to take away from the heartache that has obviously influenced the lyricism of the group in the intermittent time between United Crushers and their 2013 release, Shulamith. Yes, it can become a slog to weave your way through 12 tracks of morbidity but there are glimmers of hope littered throughout. It’s brave but not quite strong enough to do what Poliça want it to do all the time but it gives it a bloody good go.
Tom Churchill

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