Punchbag's Electropop Evolution: From Wonky Pop to Darker Hues
The perfect antidote to mainstream beige arrives in the form of Punchbag, the sweaty and unvarnished electropop duo from south London. Siblings Clara and Anders Bach have just released their follow-up EP, I Am Obsessed, which spikes their off-kilter pop with new darkness while adding atmospheric balladry to their glorious racket.
A Nostalgic Sound with Modern Edge
If this were April 2008, Punchbag would likely be headlining an NME tour alongside acts like Alphabeat and Frankmusik, hailed by the Popjustice forum as the new face of "wonky pop." Their debut single Fuck It showcased the sonic calling cards of that ramshackle iPod-era micro-genre—off-kilter, unvarnished electropop piled high with myriad other influences. The track was a sweaty riot of 90s rave, maximalist bass, and Clara's spit-soaked vocals, perfectly suited for soundtracking an awkward snog on Skins.
Last May, the duo expanded their catalog with three more frantic bangers on their debut EP, I'm Not Your Punchbag. The highlight, You Used to Be So Sexy, sounded like a GarageBand-produced version of the Veronicas if they had grown up in east London instead of Brisbane.
Darkening the Neon Palette
This month's follow-up EP, I Am Obsessed, takes that neon palette and adds several darker hues to the mix. Lyrically, the pair have expressed a desire to zoom in on the scabby surface of our current reality. The dry ice balladry of Playing God is ironically dedicated to the men in power, serving as both a sonic palette cleanser and an example of the duo's musical evolution.
With its atmospheric unfurling and rich melody, Playing God leans toward arenas rather than headache-inducing squat parties. However, for those who prefer a glorious racket, the shouty, nu-rave adjacent I Love This! channels both Sucker and Brat-era Charli XCX, offering the perfect antidote to mainstream beige. Meanwhile, the frazzled sugar rush of What's in My Bag (with its memorable line "underwear in case I stay") retains Playing God's crafted musicianship but spikes it with something spicier.
This Week's Best New Tracks
Tara Clerkin Trio – Silently
Gauzy synths, a low-slung beat, and Spanish guitar evoke a dusky, lapping shoreline in this utterly relaxing song that never blurs into wallpaper. The curious vocals and piano breaks remain too beguiling for that.
Babyfather – Slumpz
With EsDeeKid's go-to producer Wraith9 on the corroded-symphony beat, Dean Blunt's steady, faintly amused flow is ever welcome as his rap project with James Massiah returns with the excellent EP Icl.
Thistle. – Pylon
The Manc trio catch a giant wave of pondwater surf, riding this wobbling mass of noise through two and a half minutes of gorgeous grungegaze before suddenly wiping out.
Katseye – Pinky Up
Avoiding the controversy surrounding Manon Bannerman's hiatus, the girl group lean into brat-pop party anthems with a chant-along chorus, upbeat tempo, hyperactive production, and an unexpected lyrical hat-tip to Socrates.
Massive Attack – Boots on the Ground (ft Tom Waits)
Wheezing breath, mournful piano, clattering drums, and eerie wailing mark Massive Attack's long-awaited return. Waits' part would sound like a lost blues recording—were he not playing a brash, unrepentant warmonger.
Disgusting Sisters – Weirdo Magnet
An excellently named band and single: the real-life sisters split the difference between Smerz, Brat-era Charli, and debut-era Billie Eilish, with succubus-style vocals prowling around playfully creepy bass.
PPP – Wisco
DJs Piezo, Plead, and Python unite for a steamy, syncopated track that recalls the harder end of DJ Koze's most recent album, making summer feel tantalizingly near.
