2010’s “Public Strain”, the second and final album by Canadian indie-rock band Women, is possibly the most underrated album of the past 15 years. It is a strange, otherworldly album that requires multiple listens to fully understand. It simultaneously sounds like it could be the next big step for indie rock or a lost relic from some basement in the 1960s. With the album celebrating its 15th anniversary later this year, I felt it was only right to shine a light on this lo-fi masterpiece.
I discovered this album through a YouTube video about a year ago; a snippet of the song “Heat Distraction” played and it immediately caught my ear. I saw that the record had solid reviews but wasn’t super popular, with maybe one playlist featuring a track from the album on Apple Music. The cover of the record always struck me in a unique way. The yellowish color and notes on the album looked very pleasing to me, and I feel that a hazy photo of a blizzard perfectly captures the sound of this record. On first listen, only a few tracks stood out to me (I will get to them later), and I found the rest of the songs blur together. After repeated listens the record clicked with me, I ordered the vinyl, and it has stayed in my rotation ever since.
The album features a very hazy, lo-fi production style that sounds like it was recorded sometime in the 60ss. The sound of the record has often been compared to bands of the time such as The Velvet Underground or The Zombies. These songs feature very abstract, cryptic lyrics and more strained vocals. It’s often hard to tell what exactly is being said, or if there is any meaning to the lyrics at all. The record is less about these lyrics, which often have this very tense, paranoid quality, and more about the atmosphere that the music creates. This is a very hazy, jagged record, and all parts of the production come together to create said atmosphere.
The record could really be split into two parts. The first leg of the album has a very shoegazey sound; featuring light, atmospheric production and lacking a clear progression. The opener, “Can’t You See” is a prime example of the more subdued style of the first leg. Highlight “Heat Distraction” is the one exception to this, being a very jagged post-punk cut. I would say it is one of the more accessible tracks on the record. “China Steps” kicks off the second leg of the record, which is much more abrasive in tone and style. The closing track, “Eyesore,” is without a doubt the best track on the album, and the longest. This is a song that has one of the best progressions I have ever heard, growing into the fullest song on the entire record. The abstract lyrics create a very melancholic feeling along with a very striking instrumental. It is truly a perfect song and ending to the record.
“Public Strain” is best listened to as a full work, not broken apart into separate songs. These songs all work together in a way that creates a cohesive atmosphere that must be fully engaged with to understand. I recommend multiple full listens over a week or two, as each listen will reveal something new to you. I have found this to be an entrancing record, one that manages to draw me back to it again and again. This near-perfect album truly is one of the most underrated records of all time.