San Francisco’s no wave queens of angularity are at it again! Slated as the 3rd and final album after the departure of guitarist Sarah Jaffe, Nightlife has turned out quite the opposite; an invigorating new beginning. Erase Errata’s new identity answers to less guitar, more rhythm, and a politically offensive disposition. A distinctly stripped-down rhythm section powered by Bianca’s quasi-playful/dance-y, but always rhythmically lush drumming, and Ellie’s frenetic bass riffature, which carries Jaffe’s complex inventiveness, only topped with ballsy intensity. Jenny’s guitar and trumpet fill the rhythmic offensive with angular noise, while vocally she zeros in today’s society and government. In a few words this is Erase Errata meeting the Ex. Erase Errata’s most militantly offensive and politically angry album to date. Can you blame them?
Play: 3, 10, 6, 7, 1, 2
1. Dance-y, angular with VERY noisy guitars and cow-bells. Fast. Classic Erase Errata.
2. Sparse trumpet intro kicks into catchy riff-driven dancy groove. Sleater Kinney-ish vox. Interesting-sounding (70s prog/hard-rock) coda.
3. Frenetic, offensive, Fugazi-esque, anti-government, no wave trumpets.
4. Big sound, catchy trumpets
5. Blunt; minimal; piercing vocals; turns into a guitar song.
6. Jumpy; angular; solid bass; catchy whistling; frenetic guitars. “american bastard, murderous bitch”
7. Erase Errata with a country-western feel; Rockabilly; Beautiful guitar-noise.
8. Fast guitars; industrial-sounding noise
9. Sparser; hypnotic and monotonous; vocal delays and echoes.
10. Super fast and catchy! SURFY! Keyboards. Brilliant!
11. Raw, thick, heavy bass!
12. Electronic sequencer effects; sparse vocals; experimental