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The title track for Horizon takes shape out of a mesh of trebly, hyper clear guitar, as Rachel Aggs executes complicated, off-kilter patterns that sound faintly West African. It’s joined by a syncopated, nearly melodic patter of drumming — that’s Rachel Horwood — that moves over skins of a variety of timbres, singing, if drums can sing, in a way that relates but doesn’t conform to what the guitar is doing. The actual singing, more of a chant though it blossoms sometimes into a dizzy, blurring harmony, slants the whole enterprise towards post-punk. It is a complicated, multi-layered, fascinating mix of styles, warmer and more spacious than post-punk, punchier and terser than afro-beat.
This is Trash Kit’s third album, recorded somehow in the intervals between other projects. (Aggs plays key roles in three very significant musical outfits — Shopping and Sacred Paws in addition to Trash Kit.) The bass player is new, with Gill Partington stepping in for Ros Murray, and the sound is tight and luminous. Its spare architectural framework fills out, at surprising intervals, by lush, intoxicating sounds: the string section at the end of “Coasting,” the exhilarating vocal harmonies of “Sunset.”
Often, the cuts start with bare drumming, elucidating an element of Trash Kit’s sound which is both foundation and embellishment. Horwood adds a djembe to her standard kit, giving her fills an extra bit of range and punch; there’s a sharp plinking resonance that pops out of skittering fills. That’s one reason certain songs sound African. The other is the warm, lucid lyricism of the guitar lines, which cascade in liquid waterfalls, curl under themselves and roll again. Aggs and Horwood both sing, sometimes playing catch with terse bits of wordplay (the call and response in “Dislocate”), others uniting in beguiling consonance, twining in and out of harmony (as in “Window”).
The songs often seem made up of sharp, conflicting parts, that come together at angles, fitting into the spaces left by one another. “Disco,” for instance, interposes a staccato dance of bass notes atop continuous rolls of drumming; you get the sense of the bass jumping from white space to white space like a hiker stepping rock to rock across a stream. The guitar, when it comes in, jitters and jangles in bright agitation. The saxophone blurts hot notes into the stops. The cut, which goes on for nearly seven minutes, feels almost acrobatic in the way it balances contradictory energies, letting each player pursue her own ends without stomping on anyone else. Yet while “Disco” is constructed of bright pointillist pin pricks, it has a warm swaying hedonism. And this is, maybe the thrill of Trash Kit, its knife edge balance of precision and sensuality. You want to dance. You’re afraid you’ll hurt yourself.  What could be more exciting than that?
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2008 yılından beri aktif olan İngiliz post-punk topluluğu Trash Kit, 5 Temmuz’da Horizon albümünü paylaştı. Albümde yer alan Sunset kaydı ise, grup üyesi Rachel Aggs’in açıklamasına göre Afro-Amerikan yazar Octavia E. Butler’ın The Parable of the Sower kitabından etkilenilip, oluşturulmuş.
