Automatic on Representation, Resistance, and <em>Is It Now?</em>
Formed in Los Angeles in 2017, Automatic — Izzy Glaudini, Halle Saxon, and Lola Dompé — have carved out a singular place within contemporary post-punk by stripping the form down to its barest, most hypnotic essentials.
Forgoing the guitar entirely, the trio build their songs around pulsing basslines, mechanical rhythms, and synth textures that echo both the Motorik precision of Krautrock and the dystopian anxieties of late-20th-century new wave.
Across their catalog — from the taut urgency of their debut Signal to the biting critique of consumerism on Excess, and now the searching intensity of Is It Now? — their music resonates not just for its stark atmospheres, but also for its political conscience, grappling with climate collapse, gendered expectations, and the culture of distraction with an eye toward joy as resistance.
In a landscape that’s growing increasingly oversaturated with uninspired noise, Automatic’s “deviant pop” stands out not only as a sonic rebellion, but as a reminder that clarity, conscience, and conviction remain essential tools of resistance through increasingly uncertain times.
KP: So much of a band’s ethos can be found in its name. “Automatic” is a nod to The Go-Go’s track of the same title. What was it about that song — or The Go-Go’s as a band — that struck a chord with you? Was there something particular in their sound or attitude that you felt intrinsically aligned with your own vision?
IG: We liked that they were the first female band to write and perform their own hits; it kind of spoke to us as scrappy and enthusiastic go-getters. Their song “Automatic” has a very dark, almost witchy feel, so it stood out to us. Plus, the name Automatic just sounds cool. Names are very hard to get right, so we feel lucky to pull that one off.
KP: I spoke to Belinda not too long ago! They’re the coolest. Trailblazers. And that’s a great track.
Your instrumentation very intentionally omits the guitar, which I find to be incredibly fascinating for a post-punk band. But there is much invention to be found in intentional minimalism. Was axing the guitar a conscious decision, or did it happen naturally? What have you learned from stripping your instrumentation back to an extreme degree?
IG: We often say that we let “space” do a lot of work within our music; songs tend to feel bigger when there’s more breathing room. Our songs are mostly built around the drum and bass — the bassline is often the melodic core of the track, so my synthlines try not to get in the way and merely embellish. Just as a taste preference, simplicity is more appealing to us than complex, shreddy solos and key changes. We take a hypnotic, Krautrock approach to songwriting.
KP: Your debut album, Signal — which I love — had a rather tightly wound, almost dystopian energy to it. What were some of the political or philosophical ideas behind that record?
IG: It was written during the first Trump presidency. I think that everyone could feel a darker shift in the collective consciousness — it was the beginning of pretty nihilistic times. But at the same time, we really were enjoying writing songs together for the first time, so there is a little experimental, playground thrill to that record. Nobody really knew what they were doing. We were also heavily in our German phase then (Gena X, Kraftwerk, etc). Perhaps we were anticipating the dark days ahead.
KP: And dark they have been. Your sophomore album, Excess, has been described as a commentary on both consumerism and climate collapse. What sparked those particular thematic directions at the time?
LD: It’s impossible for us to not think about how climate change is affecting us, as well as the repercussions of greed and growth. A lot of problems stem from the excessive resources that humans use. It’s a mindset that needs to be seriously reversed.
KP: I spoke to the brilliant Sally Potter not too long ago, whose latest album, Anatomy, dealt heavily with climate change. I think it’s so imperative that artists focus on climate thematically, especially today.
I referred to you as a post-punk outfit earlier, but often bands resist the categorizations that others have historically placed upon them. Do you feel that Automatic fits into a broader post-punk revival, or do you personally feel distanced from that term?
LD: We identify with post-punk but feel that label doesn’t completely fit our music. “Deviant pop” is sometimes how we describe it.
KP: “Deviant pop” — I totally hear that.
As an all-female band in a genre that has been historically dominated by men, how do you navigate representation, expectation, or stereotype?
LD: We’ve gotten comments to our faces like, “You’ll be really great in five years.” I really don’t think that anyone would say that to a male musician. A lot of men feel free to give us advice and unsolicited opinions. At the same time, we’ve also been really supported and privileged in a lot of ways.
KP: Do you feel like your presence inherently subverts certain norms, or are there times where the industry’s perception of gender still imposes limitations?
LD: Being an all-female group, we exist in a niche category — which always has its perks — but there are still limitations.
“Existing is resistance. If we’re making art and connecting with a community that believes in human rights, kindness, and love, then we are resisting.”
KP: Similarly, how do you balance being seen as “representative” with simply making the music that you want to make? These are all perilous tightropes to walk, but I think you’ve quite mastered them.
LD: I think it just makes it more important to hold your space and be true to yourself.
KP: To move onto your latest record, Is It Now?, drops today — congratulations! Its title feels like both a demand and a plea. What does that phrase mean to you, and why did it feel like the right question to frame the entire album around?
LD: Thank you! The title Is It Now? can hold a few meanings. It touches on the uncertainty of the world right now and how we should react. Should we have hope or give in to our anxiety? Is the collapse now? The world is going through so many radical and dramatic cultural shifts, and, as a result, we’re presented with uncertainty and anticipation of what’s to come.
KP: In speaking of the record, you said that joy can be an act of resistance. What does that look like on this album, either sonically or lyrically?
LD: Existing is resistance. If we’re making art and connecting with a community that believes in human rights, kindness, and love, then we are resisting.
KP: Absolutely — I love that. Today, compassion is radical.
“Smog Summer” and “Mercury” marked new instrumental shifts with Halle joining the synths and also experimenting with the bass synth. What did these new configurations open up for you creatively?
HS: We find It’s really helpful to switch around instruments when things get stale as we’re trying to write. It’s inspiring to have a new challenge when things get dull. In both of those songs, the basslines just sounded better on synth rather than on guitar, also.
KP: Can you talk about a lyric or song on Is It Now? that felt especially personal or revealing to write? Do you have a favorite track?
HS: Izzy told me once that the lyrics of “Don’t Want To Dance” were inspired by me and my dilemma with dancing… Which is that I usually don’t feel like it when the opportunity presents itself, and I just want to evaporate instead. So, yeah — I really relate to that song. I love it and the general, weird, stoney baloney vibe to it.
KP: [Laughs]. I’m not a dancer myself, so I totally feel you on that.
You challenge listeners to confront complicity in oppressive systems. Were there particular issues or moments in recent years that pushed that to the forefront for you? In an era of endless crises and dystopian distractions, how do you approach making politically charged music that still invites joy and presence?
HS: Definitely the genocide in Palestine in recent years, which was so painful to witness. Also, the increasing climate change disasters while corporations continue to exploit and destroy in endless greed — that’s so painful as well. It would be harder to not let these heartbreaking things seep into the music. We’re not trying to be a part of the capitalist distraction machine, although, unfortunately, there is a degree to which we are required to in order to survive. But we hope that our music can help fuel people’s energy for resistance to the many faces of oppression in these challenging times.
KP: What would you tell women who seek to pursue a career in music today?
HS: Honestly, just work with as many other women as possible.
KP: What advice would you lend women about life, work, or love?
LD: Try to be as confident as a man. [Laughs]. Hold your space and take risks.
KP: What do you feel makes a provocative woman?
HS: A really provocative woman boycotts fast fashion, AI, and Amazon. :)
Photography: Erica Snyder
