Artist Feature: Geneva Jacuzzi

Anyone remember Heartbreak? For the lucky few not in the know, allow me to enfuriate/inform with a brief summary of their schtick.  At a glance, the band consists of Sacha Baron Cohen in the guise of Borat, flailing around over a slew of 80’s pilfered synthery (provided by gonzo’s ginger bloke). The result is scenes reminiscent of Nathan Barley, and had myself and fellow Miscmusic-ite Alec convinced it was some Spinal Tap inspired industry joke. So imagine my inner turmoil, when upon chance I found myself at a gig, watching an act who was basically the one woman Heartbreak, and rather than have the overwhelming urge to punch a hole through my own face, I found myself gleefully hypnotised by the spectacle body popping her way around the stage…

Geneva Jacuzzi (with the exception of mate and producer of her album ”Lamaze”, Ariel Pink) is the master of pastiche, haphazardly voguing and throwing shapes through the line of sincerity and parody. Much like the album covers she produces, her sound is a collaged, mish mash of influences. Love Caboose (the song above ya dingus…) harbours the melancholy creepiness of Kindness’ Gee Up, sprinkling chiming synths over eerie funk bass, climaxing in its middle eight with spoken word snippets of prose, courtesy of what sounds like The Queen imitating Thin White Duke era Bowie. Elsewhere ”Lamaze” finds Jacuzzi transformed into cyborg mode, offering up anthemic ”montage” music, alongside conundrums so grammatically confusing (”Do I Sad?”), it puts Brandon ”Are We Dancer?” Flowers to shame. Add to this enough mock English accent impressions to make it seem like the album was recorded in the midst of a Hugh Grant convention, and you get a glimpse of the bat-shit-posuer aesthetic her music commands.

Madonna fronting Sparks, Depeche Mode jamming with Devvo, Kim Wilde mid pout-off with Visage, its as if Geneva took it upon herself to condense the 80’s into one 40 minute record, and in turn created the nostalgia bible for those who long to be born back in the days of fluorescent clothing, ridiculous haircuts, and the charts rife with synth pop dominance (No not early 2010, the 80’s you fool…)