Meet Automatic — a hypnotic cog in the machine

Izzy Glaudini and Halle Saxon are Automatic, a rising L.A. post-punk band whose hypnotic beats backsplash timely lyrics focused on social and political criticism. Their third and latest album, Is It Now?, features their cleanest production yet (thanks to producer Loren Humphrey), while maintaining the mechanical basslines and poppy synth that put the band on the map.

Self-described as “deviant pop music that cuts through the brainrot,” Is It Now? confronts the machine of society head-on, documenting a bid for human connection amongst consumerism, alienation and technology-driven environmental decline within a surveillance state. Naturally, the duo had some choice words about artificial intelligence.

“I think it's a total nuisance to the music industry. From creating AI music on Spotify — like tricking people into listening — to something that just makes Spotify money, as opposed to anything that has like a real message or purpose,” Glaudini said. “Then, from the back end, the environmental impact of the data centers and the way that people have their bills going up because of it. It's just totally evil.”

“I think there are a lot of problems in the music industry, and I don't think AI is saving anything or fixing any of the issues,” Saxon said.

Despite their anti-consumerist sentiment, one of Automatic’s most high-profile moments came — ironically — through soundtracking luxury fashion house Celine’s Spring/Summer 2020 runway show at Paris Fashion Week. Celine creative director Hedi Slimane commissioned Automatic, then a trio, to create an exclusive 20-minute extended version of their song “Calling It” for the show.

Glaudini and Saxon maintain that while they have some major reservations about the fashion industry’s life cycle, one can still draw inspiration from the artistry of high fashion.

“I think fashion is interesting if it comes from a place of expression, but obviously a lot of designs these days are just serving corporate interests, and that's not even their fault. It's just the way everything is,” Glaudini said.

“The fashion thing is so hard, and merch, as a band, is one of the only ways you can make money,” Saxon said. “It really bothers us, making and producing merch. We're gonna start trying to use deadstock, but it sucks putting new clothes out into the world, and I think about it a lot.”

Automatic’s chic, futuristic sound lends itself to soundtracking practically anything. Critics often draw parallels between Automatic and Joy Division’s gothic new wave or Kraftwerk’s synthy krautrock, but Glaudini and Saxon noted they have plenty of influences they don’t necessarily sound like, too.

“Suicide, LiLiPUT, Kleenex, Blondie,” Glaudini listed. “DUG, Lee ‘Scratch’ Perry.”

“Stereolab, Charlotte Gainsbourg,” Saxon continued.

They also draw inspiration from the world of cinema.

“I like a lot of slow-burning, visually beautiful movies,” Glaudini said. “We like Antonioni as a director. I like Italian [films], Fellini ... just things that are expressionistic or visually stimulating but slow burning. David Lynch, obviously.”

The duo would be forgiven if they were to burn out with their touring life and delivering their message of the perils of capitalism, but Glaudini and Saxon cite nature and prescription medication as their grounding techniques while on the road. After touring with The Last Dinner Party (which brought them to Iowa), Automatic next heads out on a big North American headlining tour.

When it comes time to lay down some more of their self-described “kooky little tunes,” the duo is looking forward to dabbling more with production, so don’t be surprised if the fourth Automatic album comes with a “self-produced” descriptor. Be ready for when Automatic becomes a household name, too — if their electrifying opening set at Val Air Ballroom was any indicator, this band is dripping with the “it” factor.