BY
Mishael Lee

Lead Designer

Hype Issue #59

Published on

July 17, 2024

Cover Artwork Courtesy of Nadine Maher for Black Dresses

About four years ago, Devi McCallion and Ada Rook, the couple that made up the noise-pop duo Black Dresses, announced their disbandment. This decision came after McCallion endured escalating harassment from fans over a long period of time. Hence, Black Dresses would declare on X, formerly Twitter, that they would “no longer exist” and their music would be removed from streaming services except Bandcamp. 

Their 2020 album, Peaceful As Hell, was slated to be their final release.

However, in a surprising twist, Black Dresses tweeted a link to a new album, Forever in Your Heart, on Valentine’s Day 2021. Despite parting ways as a performing unit, the creative fire between these two artists burns brighter than ever. They’ve defied expectations by continuing to churn out some of the most inventive and hard-hitting noise pop the music industry has ever witnessed.

That was the plan until May 16, 2024. McCallion announced on an Instagram story that she and Rook had broken up and, in turn, a new Black Dresses album was coming. Despite the couple’s well-documented ups and downs, which stem from their individual journeys of healing from mental health and childhood trauma, fans still have trouble seeing Rook and McCallion as separate entities, often conflating them as one. 

While staying busy with individual projects since their last album in 2022, Forget Your Own Face, the noise-pop duo soon surprised fans by dropping LAUGHINGFISH, their seventh full-length album. Unsurprisingly, in a bittersweet twist, Rook also revealed it would be their final release as Black Dresses. 

Their undeniable synergy remains, but it was starting to be clear why each of them chose to pursue independent paths, both romantically and professionally, on this sprawling 22-track epic. 

Music as a Reflection of Dealing With Trauma

BAD VEGGIES Music Video by 54% for Black Dresses

Shedding their usual abrasion, Black Dresses opted for a more accessible sound on LAUGHINGFISH. Yet, this newfound approach doesn’t sacrifice their signature vulnerability; raw honesty still bleeds through the music. 

The moments of noisiness still hit hard, though. Overblown drums, chugging guitars and searing basslines create a thick, heavy foundation against cutesy melodies. Vocals become a striking counterpoint; McCallion’s flat delivery is coldly nihilistic, a stark contrast to Rook’s blood curdling screams that writhe with anguish. This tension builds throughout the album, threatening to burst under the weight of the emotions it evokes.

They don’t just urge listeners to engage with their songs; they create a compelling soundtrack that transforms into a shared exploration of their trauma, both intimate and, yes, frightening. 

Rook and McCallion’s unique blend of explicit criticism and vivid visuals remains a pillar of their albums, capturing listeners once more, regardless of how horrible they depict themselves or how emotionally unstable they are. This final album, however, marks a shift in intent, with the duo wanting to deliver some specific messages. 

Codependency and the Bleak Humour of Holding On

Photo Courtesy of Maya Fuhr for The FADER

“Can’t take the world in you, cos you’re an unfillable casket, a casket that fills itself with itself,” McCallion croons quietly on the record’s opening song, FANTA. 

We’ve barely begun the record and McCallion asserts her alleged desire to be emotionally distant from the project and Rook. The lyrics give us a sense that McCallion feels emotionally depleted by her, whereas Rook, who appears to be more vulnerable, yearns for assurance and security from McCallion. The lovers’ constant back-and-forth, a ceaseless echo of “does she love me, does she love me not?” is the first of many instances throughout this album. 

The song IF YOU FIND ME GONE may be the most heartbreaking example of a toxic, codependent relationship. Despite its bright, even whimsical music that recalls a children’s television show, the song has a grim undercurrent. The juxtaposition is almost comical in a twisted manner. Pastel-toned synths, reminiscent of Steven Universe’s confectionery-coated cosmos, create a backdrop that emphasises lyrics about an unhealthy relationship that’s nearly impossible to break free from. 

While examining the risks of codependency isn’t a novel topic in music, Black Dresses breathes new life into the theme on LAUGHINGFISH. Esteemed artists like Charlotte Gainsbourg and PJ Harvey have delved into these dark waters before, arguably with even starker intensity. However, Black Dresses distinguish themselves by depicting a shared defeat. With it being a breakup record, the music portrays a sense of shared betrayal and tiredness. 

The dissonance becomes an extension of the couple’s broken relationship in this eerie depiction of their bond. It’s the last relic of their painful codependency, which has left them both emotionally damaged and forever scarred.  

Blurred Identity and the Search for Self

Photo Courtesy of Maya Fuhr for The FADER

“And what I have inside, doesn’t ever feel right, reconfigure pieces till I cannot recognize it,” Rook quivers with dread on the record’s swan song, SILENCE. It’s one of the few tracks on this album where Rook doesn’t abuse her vocal cords, though that doesn’t make it any less depressing. 

The record explores both Rook and McCallion’s perspective on what it means to lose yourself. Giving up yourself to be with other people, and losing all of the other things you didn’t know you possessed, is what many may think ultimately defines them. 

In contrast, the album brilliantly exposes the tragic nature of what may happen when people struggle to accept themselves for who they are. DON’T FORGET THE WORLD, for example, is more than simply another song; it’s a tipping point. Rook’s ferocious rant, a torrent of rage directed at everything and everyone, lays bare the emptiness that comes from living a lie. 

The record soon reaches its emotional climax with her heartbreaking plea, “God, I wish I was someone, but I’m just irreparably me.” 

For better or worse, this stanza encapsulates the album’s fundamental theme: the suffocating despair of losing touch with one’s genuine self in a desperate attempt to be someone else’s ideal person. 

What Can We Learn From LAUGHINGFISH?

Artwork Courtesy of Black Dresses

If there’s one thing you are able to take away from this album, it’s that both Rook and McCallion never back down from expressing how they truly feel. As a result, the project doesn’t offer easy answers, but rather portrays the dark side of unhealthy relationships in a way that can be a valuable learning experience for everyone. 

LAUGHINGFISH makes it clear; not all relationships are built to last. We’re messy creatures, and the tangles we get into with each other are rooted in our own inner battles. The relationships on this album implode because people struggle to open up about their needs. So, intentionally or not, Rook and McCallion are shoving critical thinking about relationships, self-worth, and communication right down our throats.

While the duo may find future success and personal growth, this record will undoubtedly remain a touchstone for many a broken person in a broken relationship. Each lyric will undoubtedly be a lifeline for those navigating their own dysfunctional relationships, offering a bittersweet solace in the shared experience of heartbreak. 

Listen to Black Dresses, or don’t. But know this; even in the darkest corners of this music, you’re not on your own. This shared experience cuts through the isolation, a powerful reminder that you’re not alone in your struggles.

RATING: 9.8/10 

REPLAY: FANTA, FEEL SOMETHING, CAT CUP, BAD VEGGIES, WOUNDED ANIMAL, GOOD THINGS HAPPEN, DON’T FORGIVE THE WORLD, THE WORLD, PURE REALITY, IF YOU FIND ME GONE, LAST LOVE SONG ON THIS LITTLE PLANET, I STILL SEE EVERYTHING, STOOPID DREAM, 1-800-THE-MOON, MAGIC EYE, NO DAYS OFF, CAN’T KEEP THE KNOTS OUT, IT’S PROBABLY FINE, ZERO FANTASY, SILENCE

IT’S OK: ROTATION, CHAMPION IN DECAY 

SKIP: you’re kidding, right.