(4AD) The standout act in the sprechgesang wave, the four-piece’s newly expansive sound carries singer Florence Shaw’s distinctive tales of mundane lives spiralling out of control Dry Cleaning’s third album features a lot of strikingly odd lyrics. Take your pick from “alien offshoot mushroom, going the gym to get slim”; “my dream house is a negative space of rock”; or, indeed, “when I was a child I wanted to be a horse, eating onions, carrots, celery”. But it’s an ostensibly more straightforward line, from Cruise Ship Designer, that seems destined to attract the most attention. “I make sure there are hidden messages in my work,” says vocalist Florence Shaw as the track draws to a conclusion, the muscular guitar riff that’s driven it along devolving into a janky, trebly scrabble. Initially, the lyric appears to characterise what Dry Cleaning do, and Shaw in particular. From the moment they first appeared with the 2018 EP Sweet Princess, the south London quartet have attracted adjectives such as “surreal”, “enigmatic” and “inscrutable”. Most of the British bands who emerged around the same time bearing a roughly equivalent blend of post-punk guitars and spoken-word vocals sounded angry or sarcastic or straightforwardly comedic. Dry Cleaning, on the other hand, seemed mysterious. Shaw’s lyrics were collages of overheard remarks, recycled YouTube comments, lines from adverts and non sequiturs, delivered in a voice that was too icy to sound whimsical. It’s variously been characterised as “anhedonic” and “achromatic”, but might more straightforwardly be described as sounding politely bored. She occasionally shifts from speaking into singing in an untutored voice that brings to mind Stuart Moxham of Young Marble Giants’ line about their understated vocalist Alison Statton sounding “as if she was at the bus stop or something”. It was all intriguingly confusing: here were songs that could indeed contain hidden messages, that seemed like puzzles to be unpicked. Continue reading...