Photo by Kyle Thomas
Sasami Ashworth reunites us with dynamics and emotionally atypical paradigms in her second full length release, Squeeze. Through Squeeze, SASAMI converges dissonant and fantastical elements that are reminiscent of the Kittie-esque era of Spit. Squeeze is not merely inspired and heavily constructed with elements that hail from nu-metal and garage rock, there’s a more tactile element, which is SASAMI’s notion and hand (her knowledge and experiences) in composition. SASAMI doesn’t expedite a farewell from her indie rock tendencies, in contrast, SASAMI regurgitates in Squeeze what her first length album almost was trying to hide or yet what was still in the path to be found. These are not too completely different recordings, but just different sides of the teeth. The album, produced by SASAMI, was recorded at Ty Segall’s studio in Topanga, California. With a handful of collaborators including SASAMI’s Meg Duffy, from Hand Habits, and Kyle Thomas, who releases music as King Tuff, where the record was mostly created as well.
Regardless of the musical associations near SASAMI (Duffy and Thomas share a house with SASAMI), the music created for Squeeze comes across as a unique and measured effort of transformation. “Skin A Rat” furiously introduces us to bass lines and drums that can only transform a room into a swirl of choreographed punches and sweat. “The Greatest” branches out as a turning point, very early on in the album as an anthemic gut-wrenching rock ballad. SASAMI sings, “I carry you around me like a chain / like a chain” and we know exactly what she means by it. “Say It” is introduced with dissonant vocal effects and industrial-esque grooves that melt between drums samples. It’s feminine and chaotic all at once, just like the album’s cover which is a vampiric deity that has the head of a woman (in this case SASAMI’s) and the body of a snake. After stumbling upon stories of the Nure-onna, which translates to wet woman, the Los Angeles-based artist was drawn to its legend, a deity that’s feminine and noble, yet powerful and vicious enough to destroy victims with her blood-sucking tongue. This dynamic corresponds in parallels to SASAMI’s journey in Squeeze.
“Try To Understand” breaks the record in half, as a breezy California dream. Even in Daniel Johnston’s guttural rendition of the song “Sorry Entertainer”, SASAMI breaks the spell and commands the world in a rush of pedals and sinister conditions. “Squeeze” is a melodic compound, playful harmonious waves with No Home featured in the track. The transition between “Feminine Water Turmoil” and “Not A Love Song” is an awakening moment, right at the very end of Squeeze were Ashworth, who is a classically trained artist, intricately concludes a powerful narrative of many emotional aggressions – of love, of anger, of frustration, and liberation through music.
And yes, metal has long been a male-dominated space, but with Squeeze SASAMI fits and revolves the scene while a bridge is created to destabilize the gender expectations, tying her songs into a web of sounds that can be well found in the genre and not. A perfect balance, just like the Nure-onna’s mortal tendencies to switch between good and evil.
Squeeze is out now via Domino.