Lal Tuna’s debut album ‘Don’t Forget Me’ is an imperative listen for post-punk enthusiasts
The Turkish art student blends and bends genres in a hazy, shoegazey melting pot in this triumphant first release.
★★★★½
Photo: Press
This album, at its core, displays itself as a stream-of-consciousness of a young woman’s mind and, as is the case with all of Lal Tuna’s discography, an insight into her character. The album has been produced, written, and composed by Lal herself, and so every refrain, lyric and harmony is essentially blood on the page, and this is what makes her creations so alluring to listen to.
The intro track Television Forever and the title track Don’t Forget Me have a similar narrative and tone to them. The former has a similar sound to The Jesus and Mary Chain in its ambience; the accompaniment is loud and drowns out her voice, creating an uncomfortable atmosphere. The lyrics are raw, and like a poem of sorts. The crescendo at the three-minute mark: the whammy of the guitar and crash of the drums heighten the emotion and dark undertones, and it takes courage to address the themes of despair, sexual violence, and mental health.
The title track also explores the toxicity of relationships and previous lovers, and may be considered the Magnum Opus of this album. This track exposes a soft underbelly of her roles in relationships and explores Lal’s inward trauma and healing: “I had to throw myself off of that train / To walk a line”. The track is a symbol of hope to leave a situation that no longer serves you, and her relatability to young women is what makes her music so inspiring.
The next track, Shame, adds a new genre exploration to her arsenal. Shame is her most grunge-punk song to date; the riffs and lyrics hark back to the ‘90s days of Hole and Bikini Kill. It is a welcome and well-placed shift into something more thrashy and upbeat, and it serves a purpose as an edgy, pumped-up interlude that one could sing back to her in a crowd. It is also humorous — “I’m so so horny, and that’s your fault!” is great comic relief and showcases Lal’s chameleon-like ability in adapting to the nuances of her chosen genre.
Next we have Afternoon Tram, a perfect amalgamation of her signature shoegaze style with hints of rock ‘n’ roll and post-punk, leaning slightly into the country realm. Lal’s ethereal tone carries throughout genre changes and blends; this is what makes her so impressive as an artist and one to watch. The following track, Carry On, explores a ‘70s-style of country and puts one in the mind of Joni Mitchell. There’s a really interesting musical piece at the 3:30-minute mark, featuring a drawn-out synth that sounds almost like an organ, and Lal’s musical versatility is fully exhibited in this track.
Forever… Whatever follows on, and the album takes a different turn. Fans of Angelo Badalamenti’s score in Twin Peaks would thoroughly enjoy this track. Her voice is crackled and far-away, as if she is underwater or calling down from space, and not fully here. It is one of the most unique songs I’ve heard in the genre of shoegaze and ambience.
Car Crashes is sure to be a fan favourite. This song is full of country twang and has the air of ‘90s rock band Primal Scream. The pace and riffs of the guitar create a feeling of driving on the open desert road in a Tarantino film, and you can’t help but nod your head and tap your feet. The hook is great too (“No one’s ever gonna save me / Just fake a smile and call it a day”) and, along with her layered harmonies, it makes for a catchy, sing-along track.
Anthony Fantano is a standout track on this release. It has everything you could want in a ‘90s-inspired grunge track: lamentation and the perfect blend of instrumental and characterful vocals. The bridge is phenomenal; I kept hitting rewind because of how well it hits the ear. The hollowed-out bass guitar, gentle acoustic and her seraphic repetition of the lyric “I can’t find someone new” complete this Breeders-esque penultimate track.
The final track, Thank You For Everything, brings the album full circle, and serves as a perpendicular set of events to the album’s intro. The introductory organ in the song acts as a gossamer of newfound belonging in love, compounded with her lyric of “And I’m safe now? / I’m safe now”. Lal Tuna bleeds into every facet of her work, and the motif of hope makes one feel profoundly pleased with the conclusion of this album.
Don’t Forget Me is out now via The Velvet Bride Association.