Peaches and Cream.
French Vanilla unspool a provocatively arty post-punk sound that fuses together guitarist Ali Day’s punk-funk chords and Daniel Trautfield’s serpentine bass and bold sax lines with Max Albeck’s minimalist, post-disco drumming. Above it all, Sally Spitz alternates undulating melodies with more abstract vocal declarations on such urgent asides as “Social Trappings” and the canary-in-a-coal-mine imprecations of “Anti-Aging Global Warming.” “Don’t you know that killing’s a sin?/My very own mother is doing me in,” Spitz wails on the film homage “Carrie” while Trautfield squawks woozy, Lora Logic–style sax retorts. At various times on their self-titled debut full-length, French Vanilla also evoke the angular experimentation of Bush Tetras and The Slits. Janelane singer Sophie Negrini has more of a power-pop approach, stitching her lovelorn heart ruefully to her sleeve amid the garage-rock gems of