Friday, December 13th, 2019

Debby Friday – Fatal

The two genders: poison and remedy…


Alfred Soto: This post-industrial grind immerses itself in goth binaries, with “I am your poison and remedy/Why don’t get you come and get some” the tastiest of Debby Friday’s yum-yums. Often a virtue, brevity undercuts the track: longer, dirtier, grind-ier, please.  

Wayne Weizhen Zhang: A hypnotic, menacing beat and mysterious, ephemeral sample perfectly background Debby Friday’s voice, which cuts through the built-up tension like a dagger.

Nortey Dowuona: Tapping bass drifts in underneath the door with scattered vocal samples float up while drums slam on the door as Debby cooly tells the smoke to slip back under the door, she has over things to do. As it rises, she opens a can of disembodied chants who take the track by the ear and drag it out of her bedroom. The drums run back into their room and fake like they’ve been reading while the chants help the bass with their homework – then a warping falls out of the closet and runs out, taking the Butterfingers.

Iain Mew: So many different ways to menace: throbbing bass, backing vocals like a clashing adjecent radio frequency, barked turning “come and get some” into a threatening demand. There comes a point where the effect seems to have plateaued, and then she smashes a glass and twists the song into an incredible death spiral. 

Vikram Joseph: A pulsing bassline, a mesmeric Middle Eastern-tinged vocal sample and a beat that’s always exactly ten metres behind you, stalking you home down an unlit street – “Fatal” is hypnotic and dangerous. You know you’re the prey, and you know how this ends. It circles you for three minutes, wearing down your defences, before lunging for your throat in the final seconds. It almost feels good.

Kylo Nocom: Look, if I call another song a vicious portrayal of sexual desire or some shit like that again I’m gonna get clowned so hard. But this is that. It’s also a badass “The Apple”-style romp with an amazing kick sound and the best usage of yelling in electropop since Allie X’s “Bitch.”

Michael Hong: Name a song “Fatal” and it better live up to the danger. Debby Friday’s vocals suggest some menace and across the track, there’s a consistent sign of something lurking in the background, always ready to strike. But “Fatal” takes far too long to demonstrate what makes it so dangerous, culminating in a false strike at the very end that feels empty due to the extreme lengths it takes to get there.

Kayla Beardslee: You know how some fantasy/scifi/genre movies use echoey, often unintelligible moans to evoke unnatural fear settling over their protagonists? … Frodo wearing the ring, I’m talking about Frodo and the One Ring. The sound effects in “Fatal” pulse with anxiety, with danger, with the vibe of a spider creeping up behind your back — but even though the lyrics are about a dangerous lover, Debby Friday is the one in control. She carefully builds the track’s tension and intensity, finally trapping the listener among industrialized crashes as she reaches a breaking point. Friday is Sauron sending the Nazgûl out of Minas Morgul, covering the landscape with smoke as she grasps for the Ring: by listening to this song, you’ve already succumbed to the tantalizing darkness.

Katherine St Asaph: Pitchfork compared Debby Friday’s “Fatal” to Nine Inch Nails’ “Closer” (it absolutely sucks we have to specify which “Closer” we mean now; Ashley O didn’t die for this), which is not inapt. Like Dead Can Dance, “Fatal” finds its grind within the first few seconds and never lets up. Like Roisin Murphy’s “All My Dreams,” it expresses destruction and lust in ways that would be campy were Friday not so utterly serious, and were the track not as well: steely, dangerous, never lifting the nail from the skin. This, and no less, is the level of intensity you need for this subject; and if anything “Fatal” could stand a bit more. The final 15 seconds could have been the final 5 minutes, but so it usually goes with fatal love.

Reader average: [7.5] (2 votes)

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2 Responses to “Debby Friday – Fatal”

  1. Absolutely brilliant, the vibe of the next decade.

  2. “Ashely O didn’t die for this” katherine you kill me every time

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