Invada
Billy Nomates burst onto the scene in 2020 with her unique blend of no-wave and post-punk, accompanied by her sprechgesang delivery. Her self-titled debut, recorded with Portishead’s Geoff Barrow, was a brilliant record of danceable defiance. Lyrically she combined her wit and anger to excellent effect, mixing a punk attitude with an ability to craft a catchy melody.
Since her debut, she has provided vocals on her musical friends Sleaford Mods’ track ‘Mork n Mindy’, while in 2021, she released an EP, Emergency Telephone. While her debut saw her spousing her vitriol externally, CACTI is a more internal affair as we learn more about the person behind Billy Nomates, Tor Maries. The record’s power comes more from its vulnerability than its defiance, though there is still plenty of that. Maries tackles self-doubt, inner turmoil, and depression with searing honesty.
Despite the serious nature of the topics she tackles, the record often dips into a poppier territory than its predecessor. Co-produced by James Trevascus (credits include Nick Cave and PJ Harvey), the record’s emotional expansion is mirrored musically. There is a warmth amongst the rawness, on a record Maries admitted she almost gave up on, an example of the self-doubt that plagues her. Thankfully, her compositions were salvaged, as CACTI is a compelling listen. It doesn’t quite grab you by the throat like her debut does, more gently hooking you in.
The opener, ‘balance is gone,’ sees Maries begin the track by singing, “My inner peace is broken into five”, straight away inviting us into her mind. The track hurtles along, driven by its pounding bass, fuzzy guitars, and juddering synths, yet the chorus feels like a classic piece of indie pop; catchy and memorable. ‘black curtains in the bag’ is a dark, eerie affair, the pounding of the drum machine almost unsettling. ‘blue bones (deathwish)’ is filled with warm guitars as Maries sings “Cause death doesn’t turn me on like it used to”, it’s a track of powerful catharsis. The record’s title track, ‘CACTI’, has elements of 80’s electro-pop, with an intense, dark Cabaret Voltaire-like energy.
‘saboteur forcefield’ is one of the record’s more tender moments, with its echoing synths creating a melancholic bubble as Maries sings about the battle with her self-sabotaging tendencies; “Things are going well, and so I better put a stop to it”. ’roundabout sadness’ is a minimal affair, with its pounding drums and organ-like sound giving it the feel of a slow trudge. ‘Spite’ sees Maries at her most energised and defiant, singing “Only I hold power over me”, before the track dips from fuzzy rock into a synth-pop chorus. ‘fawner’ is a standout moment, a folksy acoustic ballad, with the sound of pub chatter and clinking bottles in the background, the minimal instrumentation laying Maries’ vulnerabilities bare.
‘same gun’ is a claustrophobic affair, with its odd whispering background vocals and the bass heavy pounding of the drum machines. ‘vertigo’ starts as a brooding piece of industrial rock before opening up with its melodic chorus, Maries sounding like Sheryl Crow as she sings “You wait a long time to get somewhere”. ‘apathy is wild’ has a shuffling groove to it, full of distortion and reverb, almost like Maries is trying to make sense of her feelings. The closer, ‘blackout signal’ is an ominous track, the tinny sound of the drum machine and the droning synths creating a dark, swirling atmosphere, Maries half-shouting, “I can’t wait for the blackout signal”.
Maries, like any artist, should be commended for her bravery in releasing an album that exposes her vulnerabilities for all to see. At times you miss the defiance and witticism of her debut, but her inner expression is equally powerful. CACTI is the sound of an artist expanding and taking risks, which on the whole, come off.