Crucified Barbara
In Distortion We Trust
7.6
While sharing a common classic punk-rock rooted aesthetic with the likes of Motörhead and The Donnas, Sweden’s Crucified Barbara are not quite as raw in their approach as Motörhead, and are certainly not as polished as The Donnas. Sitting comfortably somewhere in the middle, the all female quartet deliver powerful (if not sometimes cliché), hook-laden anthems with one-two punch architecture that never outstays its welcome. Rarely exceeding the three and a half minute mark, the twelve nasty numbers on In Distortion We Trust could be compared to a barroom brawl - short, rowdy, and fun as hell to watch (or in this case listen).
One defining characteristic that sets Crucified Barbara apart from other acts on the ’chick band’ market is that these ladies can actually play their instruments, and quite well might I add. Mia Coldheart’s wah-driven leads on tracks like “Rock N Roll Bachelor“, “My Heart Is Black”, and “Losing The Game” suggest that she could effortlessly exchange licks with Jerry Cantrell or Kirk Hammett, while Nicki Wicked serves up an energetic drum feast throughout In Distortion We Trust that exhausts every piece of her kit. Though Klara Force (rhythm guitar) and Ida Evileye’s (bass) performances are the least notable (only cause they are the less obvious), they are notable nonetheless, even if only measured by their spot-on timing. The object of dissection once again, Coldheart’s sexy gruff voice is two parts Lemmy Kilmister, one part Layne Staley, and one hundred percent pissed off; a seething attitude that outlines the mood of In Distortion We Trust.
Many will have pre-listen reservations about Crucified Barbara, and understandably so, but in all honesty In Distortion We Trust is the sort of album that hits you out of nowhere, resulting in possibly one of the year’s biggest surprises. So, here’s to a fist-pumping, middle finger salute to skepticism.
