Always working at the extremes, les Georges Leningrad staked their banner at the far edge of dance music, reclaiming the region for the post-punk movement. The group continue to proudly wear many of their influences on their sleeves: Siouxsie & the Banshees, Fad Gadget, Wire, very early Human League, and the Slits among them. However, with Sangue Puro the trio delve much deeper into experimental sounds, losing their flair for danceable rhythms at points along the way. The electro-experimental title track, for instance, eventually includes drum patterns, a four-on-the-floor which shifts into repeated drum rolls; even the Pop Group had more danceable rhythms than this. Its title, "Sangue Puro," translates from the Italian as "pure blood," and perhaps les Georges are making the point that they've evolving into a purer art-fired unit. The final track, "The Future for Less," an even more experimental piece that pushes into Throbbing Gristle territory but minus the proto-industrial feel of that group, seems to confirm that.
However, "Skulls in the Closet" dispels that theory, a pure old-school, post-punk, dance monster that sounds like the bastard child of the Banshees and the Fad Gads. "Scissorhands" has an old-school feel too, but its rhythm, fueled by a funky, fuzzed, faux bassline, is built in thoroughly modern terms. "Sleek Answer" is even funkier post-punk hip-hop for the mod generation. All those tracks are electro based, numbers like "Ennio Morricone," "Mammal Beats," and "Mange Avec Tes Doigts" are guitar thrashers, all unadulterated, aggressive post-punk songs, fueled by fury and vitriol. "Lonely Lonely" takes that fire to a whole new level, and is built around a strangled vocal and a pounding, almost tribal drum pattern, with a sub-Sex Pistols' guitar riff thrown in for good measure. "Eli Eli Lamma Sabachtani" dispenses with even that, and is comprised solely of tribal drum beats and chanted vocals that shift from African flavored to cheerleaders on acid. The whole set feels terse and angry, an impression further fueled by the vocals, few of which are in any comprehensible language, feeding the feeling of frustration and alienation. Which is surely the point. Although less accessible than les Georges' two earlier sets, there are enough musical and rhythmic touchstones left to keep most of their fans in their fold, while les Georges mark out new musical territory. Where they'll move next is anyone's guess.