Man/Woman/Chainsaw’s ‘Cannonball’: Reflecting upon the ups and downs of adolescence

Taking their name from Carol Clover’s book exploring horror films using feminist theory, Men, Women, and Chain Saws, Man/Woman/Chainsaw is a six-piece London band comprised of Billy Ward, Emmie-Mae Avery, Vera Leppänen, Clio Starwood, Lola Cherry, and Billy Doyle. Their debut Cannonball marks a shift from the rough, unfiltered sound of their debut EP Eazy Peazy, while carrying forward the same noisy punk energy of ‘Back/Burden’ and the swirling violin melodies of ‘What Lucy Found There’. 

Bursting with pop-punk energy, and sprinkled with optimistic, romantic lyricism, and a scrape of art-rock instrumentation, the album has been met with immense critical acclaim, including an impressive 6.8 from Pitchfork, and a 4/5 from NME. Even before this outpouring of praise, their UK tour was largely sold out, with a second date announced for London’s O2 Forum Kentish Town in May due to demand. 

It begins with strong, attention-grabbing violin on its first track, ‘Only Girl’, setting an energetic and vibrant tone for the album. Its quick pace drags you headfirst into the album’s chaos of romance and heartbreak, with lyrics of utmost devotion: “I’m your only girl”. These themes of attachment return in ‘Lighter’, a tender love song animated by Leppänen’s soft vocals drifting “I’ll let you have my skin” over a swaying violin backing, which leads into ‘Nosedive’s’ ecstasy with ease. 

It’s a song dripping with nostalgia and reminds me of the kind of glee only achieved from innocent teenage romance

Perhaps the album’s defining track, ‘Nosedive’ is a dreamy love song which ascends into its melodious and repetitive climax, evoking the giddy bedroom dancing featured in its music video. It’s a song dripping with nostalgia and reminds me of the kind of glee only achieved from innocent teenage romance; a first love reciprocating one’s feelings, or the breathless butterflies before a first date. 

Much of the songs on Cannonball follow a similar pacing, beginning with slower, softer instrumentation and vocals, before moving into a heavier and quicker crescendo of loud, crashing drums and guitar. This is especially true for ‘Canyons’, which sets up a tale of jealousy, at first crushed and defeated, but by the end, full of anger and resentment, perfectly bridging the gap between its introduction and ‘Goddamn, Lizard Man!’. 

Showcasing their rock reservations, ‘Goddamn, Lizard Man!’ is a hard-hitting, almost rock opera-esque number, the first sung by male vocalist Billy Ward so far on the album. His rasping voice provides a welcome contrast to the softer, sweeter vocals of Leppänen, warning of the dangers of “the kind of slimy, manipulative magnetism people can carry”, according to Ward. These thundering, desperate vocals animate the repetitive chorus as though it were a blaring alarm and collide with screeching guitar to create an action-packed soundscape, conveying the lizard as Godzilla-like, rather than human.  

Its lyrics tell a story of lost love, while the violins sing as if they too are yearning

The hauntingly eerie introduction of ‘Get up and Dance’ moves into ‘Snakebite’s mournful atmosphere with ease. One of the shorter songs, but nonetheless a standout, its lyrics tell a story of lost love, while the violins sing as if they too are yearning. The vocal layering at play here similarly reenacts the despair of the lyricist’s thoughts, repeating the lines “My picture in your wallet/Do you still carry it?” over the soaring violins. 

Some of the later songs feel more in tune with the band’s punky earlier singles, such as ‘The Thing’, which utilises 90s grunge aesthetics with its sleazy bass outro and pounding guitar riff, while seamlessly fusing with the album’s core violin during the chorus. ‘Flick of the Wrist’ similarly wears a variety of influences on its sleeve, juxtaposing the harmonies of ‘Snakebite’ with jazzy piano and drums, and post-punk fury stemming from Ward’s low, raucous vocals. Finally, ‘Still Angry’s punchy, simplistic chorus of ‘I’m still fucking angry’ sung by Leppänen is reminiscent of her unbridled rage in ‘Back/Burden’, while retaining the chamber pop style of previous tracks.   

Cannonball is a dreamy, yet punchy, debut packed with emotion, albeit conveyed through different genres. This mashing of genres perhaps best represents the sextet, bringing together a collection of varying experiences, influences, styles, and instruments rather than a cohesive, single-natured work. This lack of cohesion feels so much more authentic to the band and their previous singles, while also demonstrating their progressive style. Anyone who was a fan of the singles will undoubtedly find something to love about this album. 

Recommended Listening: ‘Nosedive’, ‘Goddamn, Lizard Man!’

★★★★

Listen to Cannonball here: