The debut album from Gabriella Cohen is called “Full Closure and No Details” and it is a fantastic journey of avant-garde framed pop music full of poetic lyrics and intense emotional stories dripping in heartache and the overall sting of being disconnected from the modern whir of circa 2016 culture. White Middle Class Male Cockheads will say such bullshitery as “She is an old soul” and all sorts of other dick stained opinions but the truth is Cohen makes music for the true aliens and she is not interested in the past or the present, she is all about the moment which will always mean she is 100 per cent authentic and an artist in the truest sense of the word.
Most humans will only focus on the instant and familiar aesthetics that jump out at them when they hear Cohen sigh and ache throughout this album but if you dig deeper you hear that she is someone who is more in debt to radical artists like Bertolt Brecht, Marcel Duchamp, Hugo Ball, John Cage, Merce Cunningham, Laurie Anderson, Salvador Dali, Allen Ginsburg, William S. Burroughs, Jack Kerouac and of course the Poetry and Novels era of Leonard Cohen. These revolutionaries provide the heart and soul for what makes Gabriella’s music so special and this is why it avoids the cliches and instead favours pure emotional expression.
This is art for arts sake with all the dust and damage turned up to high in order for Cohen’s imaginary world to explode out of the headphones and to stain the listeners psyche birthing an extreme stimulation of the senses. It almost makes you numb with satisfaction after repeated listens giving your heart and soul some spiritual oxygen to help you suffer through this life with a bit more comfort. It helps remind you that sometimes being the alien is the easiest path to divinity.
Cohen’s music is designed for those of us who swallow the cliche’s and shit out quiet revolutions whilst the white male elite attempt to harvest our gold but never truly understand what true heartache and alienation feels like. Each song in the track-list is the sound of modern anti-music / anti-art designed to destroy the world that continues to make false idols out of white middle class privileged males. I can’t stand to see an album this forward thinking destroyed and buried under the kind of regime that supports that kind of big budget mediocrity.
This is an album that needs to be experienced up loud on the stereo of your speeding car as you are escaping the city late at night when you are exhausted by the weight of existence. Music this powerful can only be consumed alone. Such consumption is sure to breed some unique fans for Cohen because she sings so confidently about the pain of disconnection and yearning. The swoon and shiver of the vocal arrangements all across this record is fucking hypnotising. I found myself delving deeper and deeper into those lyrics, trying to find some kind of meaning to Cohen’s mysterious wordplay. It’s hard to focus in on the words because her melodies and backing vocals are beautifully constructed. The various vocal effects and arrangements help build a wall of protection around Cohen’s emotions making sure that as close as you try to get you will only merely glimpse the true meaning of what she is trying to communicate with her art. This is what makes the listening experience of this album so exciting, it keeps you on the edge and always eager to press play again after it is all over.
I don’t want to make this a political issue but fuck it, I’m going to – if the white corporate male music elite spent more time putting artists like Gabriella Cohen on the cover of their magazines instead of boring middle class white rock boy nostalgia fiends who offer nothing more to the creative landscape than “hell fuck yeah” then maybe just maybe we’d see peace restored to the galaxy. Unfortunately we don’t live in that world and corporate music magazines still fucking suck but that doesn’t really matter because Cohen is building her own secret history and is going to triumph and trail-blaze without the assistance of the fuckhead rock n roll boys club back slapping and dick massaging.
I don’t want to live in that world, you know the one, the one where we once again have to be subjected to a bunch of stoner fucking idiots playing guitars and riding skateboards – I want to live in a world were Gabriella Cohen has the spotlight because she is willing to go deep and dark in order to scatter some new dynamics onto the table. She lives deep in her imagination and her music is an invitation for us mere mortals to come in and indulge and escape and just for one moment realise that the best pop music is made by human beings who are weird aliens bent out of shape by the suffocating rules of societies and scenes.
Perhaps even Gabriella Cohen doesn’t even realise how vital she is but either way her new record is poised to be the launch pad for a career artist who is no doubt scheduling in more masterpieces for us to devour in the not too distant future.
Gabriella Cohen reminds me that girls invented punk rock and that Yoko Ono will always be my favourite Beatle – in the spirit of Patti Smith, Cohen is about to go beyond gender positioning her as one of the first real new millennial avant garde poets.
By: Dan Newton
(photo by: danni ogilvie)
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