Staff Pick: Mandy, Indiana - URGH

“Easy listening” is far from an accurate way to describe the idiosyncratic soul of the four-piece Mandy, Indiana. On their new record, marking the transition to Sacred Bones Records, that spirit remains intact. If on their studio debut, we heard Valentine Caulfield pointing fingers at the refugee crisis, the inevitability of subservience to the powerful, misogyny, and patriarchy; on URGH, the vocalist’s emotional discharge is even more intimate and autobiographical.

The making of the follow-up to I’ve Seen a Way was anything but easy. Over the past few years, Caulfield and drummer Alex Macdougall went through multiple surgeries. The vocalist came close to losing sight in one eye, while Macdougall was first operated on for a hernia caused by a physically demanding previous job, and later had half of his thyroid removed following a suspected cancer, which thankfully turned out to be benign. This album was recorded in a state of complete exhaustion, which often drained the joy from making music. Yet, it was under these unfair circumstances that the surreal weight of the record’s songs emerged, with frustration and anger being clearly audible.

Given the physical and emotional context, the new album naturally stands out as something distinct, carrying differences that clearly separate it from their first work. The debut saw the band experimenting in unusual spaces like caves or Gothic crypts, while URGH was partly written in a residential studio (The Calm Farm) on a remote farm near Leeds, before being finished between Berlin and Manchester. The first album was built with a beginning, middle, and end structure, often inspired by cinematic landscapes; in contrast, the new record presents a set of more abrasive tracks that unfold much more independently. Finally, although a chaotic setting was already present on I’ve Seen a Way, it is now far more pronounced, with several moments of pure turbulence. With Daniel Fox of Gilla Band on co-production, Mandy, Indiana presents this new concept more united than ever. Months on the road forged a healthy rapport, enabling a smoother writing process, faster decisions and minimal creative waste, where many of the best ideas grew directly out of happy mistakes.

URGH opens without a trace of shyness. “Sevastopol” explodes immediately into a dragging, heavily distorted industrial beat layered with digitally manipulated vocals often sliced alongside synthesizers screaming in distortion (indeed, distortion is abundant here, recalling some of Nine Inch Nails’ early work). These industrial elements create a persistent sense of discomfort, effective precisely because they carry intention. Consider “A Brighter Tomorrow”, where a looping siren-like sound keeps us on edge. Alongside it, a broken trip-hop beat merges in, bringing up the level of anxiety.

There is also room for extensive experimentation and cut-and-splice techniques, showcased especially on “try saying”, where the band plays with drums, guitars, vocals, and percussive samples that are constructed and deconstructed on a discontinuous pace. Homogenous spirit is also present on “Life Hex”, which blends a sample from the film The Craft with elements of synth-pop, or on "Sicko!", a wild and frenzied collaboration with critically acclaimed American rapper Billy Woods.

Just because French is once again the predominant language on URGH, that doesn’t mean its message is diminished in any respect. The danceable rhythm of the single “Magazine” contrasts sharply with the weight of the vocals. Here, Valentine fantasizes about the pursuit and long-awaited revenge against someone who sexually assaulted her; a personal story Caulfield publicly shared for the first time in 2023. Listening to it is undeniably unsettling, but also profoundly brave. Today, as the #MeToo movement alone is insufficient, we are still forced to confront an issue that for far too long remained a silent cry. Toxic masculinity continues to be examined on “I’ll Ask Her”, this time in English, an artistic choice that hardly seems accidental:

“This is a story about a boy, well, he’s a man really, but boys will be boys, you know how it is.”

Political statements are not left behind either. On “Dodecahedron” the band confronts those who stand idle, watching the world burn in silence, calling for collective anger; on “ist halt so” the message rides a pulsating tribal beat coated in distorted industrialism, this time turning its gaze towards the lasting conflict in Gaza, once again summoning the collective conscience in a spirit of solidarity and insurgence.

With their sophomore album, Mandy, Indiana establish themselves as one of the most exciting acts in the current experimental noise scene. In a gesture of courage and catharsis, the band's rage and revolutionary spirit continue to merge seamlessly with the rave-friendly Electronic that defines their live performances. Many of the nuances hidden behind the French lyrics may escape most listeners, but this doesn't lessen their urgency: these are messages to be heard, processed, and turned into action.

Words: Mike S.

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Album Highlights
Magazine
A Brighter Tomorrow
ist halt so

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