“Many years have passed, but you’re still enchanting,” remarked Florence Shaw, the lead vocalist of Dry Cleaning, in 2020 on their breakout track ‘Scratchcard Lanyard’. Since that time, not much has changed—three albums in and nearly a decade into their journey, their distinctive songs laden with enigmas and collage-like elements remain intact, although the richness and expansiveness of their sound have undoubtedly improved with Cate Le Bon as producer.
Following their impactful debut, ‘New Long Leg’, their second album, ‘Stumpwork’, pushed the limits of their style, yet often felt like a more polished iteration of an already recognized formula; it also lacked standout hits or catchy phrases like “Fat podgy / Non make-up” or “It’s a Tokyo bouncy ball / It’s an Oslo bouncy ball”. The legendary John Parish, who produced their first two albums, initially helped them correct their focus, whereas Le Bon has since guided them toward a denser and more textured sonic landscape.
Not everyone can start an album with a six-minute long, new wave-inspired epic like ‘Hit My Head All Day’, but Dry Cleaning approaches it with the confidence typical of seasoned guitar bands, demonstrating their long-term commitment. Reflecting this sense of assurance, Shaw goes further this time, actually singing on the opener, which includes their first real chorus ever, “Hit my head all day,” as well as in the almost French chanson-inspired track ‘Secret Love (Concealed in a Drawing of a Boy)’, among others. Compared to Shaw’s previous modest efforts to transcend the confines of talk-rock on ‘Stumpwork’, this denotes a significant progression.
“We’re very confident in our identity,” states Shaw, who adds, “It doesn’t seem possible to break it down.” Thus, they have boldly delved into the realm of “radically different things,” in the words of drummer Nick Buxton. This becomes clear right from the start. Although earlier tracks like ‘Cruise Ship Designer’ and ‘My Soul / Half Pint’ are fairly characteristic of Dry Cleaning, built around a familiar screeching post-punk guitar paired with a hint of Gang of Four-styled cold, rhythmic playfulness, the album as a whole feels distinct this time.
Le Bon is no stranger to sharp guitars and precise drumming—her album ‘Crab Day’ was dubbed “post-punk rumba” by the media, and she has earned recognition as a “post-punk iconoclast.” She adeptly knows when to leave tunes raw and which to enhance with subtle art-pop elements. By strategically integrating new ideas throughout the album, Dry Cleaning manages to retain their core identity while exploring a sound that is richer and more expansive. Even in their most surprising tracks, such as the saxophone-laden, Nourished by Time-influenced ballad ‘Let Me Grow and You’ll See the Fruit’, Shaw still delivers a characteristic quip involving “dick pic.”
Expressions like “I have no idea what she’s even talking about” were frequently found in critics’ and listeners’ reviews upon the release of their first two albums. While the primary allure of Shaw’s lyrics previously resided in their cryptic, mosaic-like nature, this style now acts as a supporting feature, much like in David Hockney’s photocollages or avant-garde assemblage practices. Employing her typical found text approach, echoing the found object technique of modernist artists like Marcel Duchamp and Louise Nevelson, she now constructs complex and cohesive narratives with strong ties to contemporary issues.
It’s hard to overlook the explicit meanings in the lyrics of ‘Blood’, which critique the social normalization of global atrocities as mere online content, touching on discussions surrounding Gaza and Ukraine. “Blood on my skin / And hands and nails / And in my eyes as well”, Shaw confides calmly, adding, “Schools and hospitals and homes… / People are worse than you think.” These lines transcend a mere jumble of thoughts and ironic remarks—they assert a personal stance, firmly sung in a style reminiscent of The Flaming Lips. Timely and unambiguous.
“I ensure there are hidden messages in my work,” Shaw states, rather obviously in ‘Cruise Ship Designer.’ At times, it almost feels like she’s poking fun at a specific individual, as reflected in this track. “Cruises are big business / I don’t personally like them / But I need to serve a useful purpose,” she expresses, sounding notably similar in tone and phrasing to some billionaire. In the dreamlike ‘I Need You’, characterized by chainsaw-like bass clarinet bursts, a yearning for someone’s attention is likened to The Apprentice TV show. “And the finger coming down: you,” declares Shaw, referencing the familiar phrase, “You’re fired!”
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"Though many years have gone by, you remain enchanting," remarked Florence Shaw, the lead singer of Dry Cleaning, in 2020 on their hit song 'Scratchcard.'