The New York outfit is equipped with being a rushed and melodic adventure through cyber warfare and a not-too-distant future of production. Cut between a series of home movie recordings and aggressive electronic stylings, Armed To The Teeth L.M.O.M.M. becomes the expressive love of Bonnie Baxter on production and vocalization, Nicos Kennedy fitting the co-production, mixing, and engineering, leaving Hisham Bharoocha to march away on the percussion.
The voltaic hydra opens with “hypnagogic phase” where similar to the opening to an 80s sci-fi monster B-movie where images of The Toxic Avenger flash before an innocent child’s eyes, there are pleads of mercy between VHS tape tracking effects. As the words describe, “Are ya ready to die little girl?” direct toward some sacrificial lamb, the younger voice replies in an ecstatic tone, “yeah!”
Thus resulting in the hypnotic synthetic beat down which appears as “Dissect Me.” Here Baxter is not just taking this main stage alongside Bharoocha, but the musical pair are as engaging as a live performance on Armed To The Teeth L.M.O.M.M. Baxter’s vocals are almost operatic in some sense with the heights that they touch while the electronics underneath are the contradicting nature.
Bharoocha hits hard throughout Armed To The Teeth L.M.O.M.M. but also has immaculate control as if he was completely automated. The performance from Bharoocha on “Slow Heat” in particular has an interesting almost militarized percussive beat where the warping and screeching walls of noise create sporadic but organized chaos.
Quickly, the tension becomes more and more clear with each moment spent on Armed To The Teeth L.M.O.M.M. Later tracks like “In sight (alien love)” almost resemble a new age Frank Zappa track where the storytelling has some moments of comedic character playing from Baxter, similar to Joe’s Garage. Instead of mops and fem-bots, Baxter becomes this yelping and overpowering narrator of grey skin and potential probing.
“In sight (alien love)” instrumentally is a twisted carousel that takes the listener through chiming and immaculately layered production. With multiple vocal overlays and fragments that coincide within each other, the spaceship here is less of a tense and frightening venue and is instead opting for being more colorful and a shining example of tonality change.
Cut into one final black pit of sound, “Inner Beam” is fast in percussion and with enough feedback to choke the audience, “Inner Beam” becomes the dirt piling on the coffin for the audience. Each component of the instrumental crushes and pulverizes the listener and between Baxter, Kennedy, and Bharoocha, there isn’t much given in a sense of reprieve. Until the final 30 seconds where ethereal vocals enter and acoustic guitar fades the frame into the perfect transition of the track, “L.M.O.M.M.”
The words that Baxter utters before the curtains close on “Inner Beam” are delivered in a hopeful way, but almost appear to have this somber semblance to them. She describes, “Do you remember me like I remember you?” as the guitar seems to dissipate and the track grows cold.
And still, in one of the more gracious displays of 2022, Kill Alters becomes the framework of nostalgia through another person’s eyes on Armed To The Teeth L.M.O.M.M. The first full-length taps into that love for the strange, genre-blending sound that fuels New York’s electronic scene.