by Madi Toman | Mar 27, 2020 | albums, review
Chicago singer-songwriter Anna Holmquist formed Ester back in 2017 with the help of friends and collaborators, and now they’re about to release their first full-band LP, Turn Around. The record is a meditation both on major life changes and looking back at the past to help you understand your own growth, and Holmquist, possessing a rare vein of talent in both songwriting and singing, expertly guides their band through this task.
Most of the songs were written within the 6 month window around the beginning of Holmquist’s Saturn Return, which is psychologically viewed as the time that one reaches full adulthood and is faced (often for the first time) with adult challenges and responsibilities. The album’s exploration of adulthood is vulnerable and introspective, presenting a lot of moments for personal reflection.
Turn Around pieces together folk and rock elements around the centerpiece of the album: Holmquist’s honest and confessional lyricism and sensitive and emotional vocals. The songs are well-crafted, with the words written just as artful and important as the music.
“Little Shadow” is draped in haunting strings and gently plucked guitar. The ominous track builds to great heights with Holmquist’s quivering voice pulling mysterious melodies across the night sky.
“Holy Daze” feels like a float down a lazy river, with warm, slow bass coating the track in thick golden honey. Holmquist shows off her control and flexibility, easily flipping into their head voice before landing skillfully back with both feet on the ground. They sprinkle themself over the calm and breezy instrumentation like a colorful candy coating before tapping into their stock of emotionally-charged vocals, the intensity of their feeling evident to even the most casual listener.
“John’s Car” starts off sounding like a simple yet ominous indie-pop track, but Holmquist stuns, expertly building the song’s intensity with precise and attentive skill before it naturally peaks in a cathartic explosion of emotion. Holmquist is not only a powerhouse, but one who is smart enough to form important moments by holding back just the right amount before laying all of her cards on the table and damn, it’s a good hand.
“Thirsty” is reminiscent of a modern Fleetwood Mac while tracks like “When You Wake” channel the power and authority of Florence Welch. “Wildflower” is a breath of fresh air, providing even the most stressed out soul with a breath of fresh country air.
Turn Around is available now.
by Madi Toman | Mar 26, 2020 | singles, wolf tracks
Husband and wife duo The Grahams delve into new territory for their third album, Kids Like Us, trading traditional Americana for neon-colored indie-rock experimentation.
“Fuck the genre labels people want to put on us. We never felt they fit us anyway.” These are the bold words of Alyssa Graham, who makes up ½ of the duo, the other half completed by her long-time romantic, life, and musical partner Doug Graham. Every release the two have had began with an adventure that expanded their musical horizons, and their third effort is no exception. “Perhaps we started writing this album with a sense of escapism,” says Alyssa. And that escapism is palpable within the record, with the two managing to actually capture that taste and inject it into their music.
Running the rivers of balmy and graceful dream pop, 50’s mod influenced garage-rock energy, 60’s and 70’s style groovy guitars, and an explosive Morricone-esque cinematic intrigue, the couple bravely explores new sounds, proving their versatility and personal creative freedom runs deep. “We wanted to just let go and explore, and it made all the difference,” says Doug Graham. “For the first time, there was no self-doubt, no self-loathing – just gratitude, bliss, and a complete sense of satisfaction in the process and the results.”
The Grahams took off on a motorcycle journey along Route 66 to garner inspiration, witnessing life frozen in time along the historic highway. The music that resulted contained moments of fantasy, horror, and even the supernatural, beguiling their experience into the album.
Kids Like Us was the final project of Richard Swift, producer and former member of The Shins before his death in 2018 and was then taken over by co-producer Dan Molad. Their influence helped to enable The Grahams to channel all of their chaotic stimulus into something big, lush, ambitious, and profoundly satisfying.
The album’s 11 tracks were born from motel-room whispers and roadside musings as well as studio experimentation. “We started in Chicago with the blues and Motown,” Doug says of their journey, “and we ended in L.A. listening to the Beach Boys. And all of it found its way into the record.”
“Don’t Give Your Heart Away” perfectly captures the feeling of cross-country cruising along a desolate highway. A twangy and peaceful pop number that both soothes and quietly thunders, it fills in a broad soundscape of wide open spaces with its chilling echoes. Alyssa glides over the dreamy notes in a quiet storm of hypnosis while the instrumentation behind her pulls listeners in with a siren call of the desert.
“Kids Like Us” is more concentrated. The number is painted with darker colors, echoing across a nighttime scene with brassy sounds and a heightened intensity brought to the table. There is urgency within the Grahams as they take a modernized Antonioni feel in new directions for this one.
“Searching The Milky Way” draws heavy influence from the 50s, with shiny keys and sickly sweet “shalalas” moon-lighting the way through the track, which drips starlight that tastes of a million years ago. It feels both cool-toned and warm and fuzzy, and is sure to transport listeners to another place in time.
The record was also influenced inevitably by the surreal 2016 election, with Kids Like Us evokes the modern American condition in remarkably empathetic ways. “We’ve definitely written a very political record,” Doug says. “These aren’t protest songs, but some of them are certainly a reaction to the big pile of shit America has stepped in, and our personal fear for the future”.
This melting pot of influences manages to blend together to make a deliciously flexible and versatile album. It never feels stagnant or stuck in one place, and pulls a lot of unexpectedly beautiful feelings from places both light and dark to create a shimmering piece of work. Freedom bleeds onto every track and colors each one in a different light within the same shadows, leaving behind a record that manages to be both eclectic and cohesive.
Kids Like Us is available everywhere on March 27th. Keep up with The Grahams here.
by Madi Toman | Mar 13, 2020 | albums, review
Indie pop wizards Yumi Zouma’s highly-anticipated new album, Truth or Consequences, was released today via Polyvinyl Record Co. Produced by Yumi Zouma themselves with mixing by Jake Aron (Solange, Snail Mail), TOC is chock-full of contemplation, duality, and the hard truth wrapped in a soft blanket.
The album is the group’s third but the first at their new label home at Polyvinyl Records. The narratives? Heartbreak (both platonic and romantic), emotional distance (both real and imagined), disillusionment, and being out of reach, and while there are rarely definitive answers to any of these tough subjects, there’s an undeniable release that comes from speaking your truth (even if it’s just to yourself).
Lead single “Right Track / Wrong Man” hits YZ’s sweet spot, giving listeners that trademark dancing-through-a-dream, shimmering sound that they seem to deliver so consistently and with such ease. Synths bubble behind Burgess and Simpson as they weave their way through smooth-toned beats with their sweet and feathery vocal blend. According to front woman Christie Simpson, the song stems from “a place of uncertainty- of not knowing if you should stay in a slightly unfulfilling relationship, or branch out and make the most of the youth you have left”, a problem that many young people feel burdened with after having spent a considerable chunk of their fleeting time be young with one person. Simpson talks about this track better than anyone else could, finishing the statement with a sentence that could serve as their slogan; “This is our dance floor anthem to the confusion of living through your twenties.”
“Lonely After” is a dream pop riddle of self-discovery. The contemplative opening track somehow manages to be a sparkling ode to pop while feeling as though it’s enveloped in a cloud, unbelievably soft and blurry around the edges in the most satisfying way. It floats across the auditory senses, pulling listeners in to get wrapped in the blanket of indie dream-pop comfort that is Truth or Consequences.
“Southwark” dances across twinkly piano melodies and breathy vocals. “Sage” steps off the white and fluffy clouds that Yumi Zouma exists in and floats into the starry night sky, delicately monotonous vocals over a driving synth-beat feeling like the soundtrack to late night drives and contemplation.
“Cool for a Second” is a lyrically sharp bright spot of synth pop that almost never happened. Bassist Charlie Ryder gave some background on the album centerpiece in a statement. “The song was demoed in Los Angeles and then long forgotten, destined for the scrap heap. A spark of inspiration from Josh in the introduction reestablished that for us, the most conspicuous of melodies are often hidden in modest beginnings.” It touches on isolation and the ensuing fallout in a letter to the past, and provides YZ fans with another one of those your-twenties-are-confusing-as-hell dance floor anthems that most lost souls in that time of their life could desperately use. Look no further, 20-29 year olds, we have the music for you!
Yumi Zouma has a talent for shielding hard truths with soft tones, providing glimpses into lucid romanticism across a dreamscape of dance-able beats and poignant lyricism. Truth or Consequences is a testament to the success of the band’s approach – a united body of melody that mines the spaces in between.
Yumi Zouma’s Truth of Consequences is out March 13th via Polyvinyl Records.
YUMI ZOUMA TOUR DATES
03/07 – London, UK @ Rough Trade East (In-Store)
03/10 – London, UK @ Moth Club [SOLD OUT]
03/12 – Washington, DC @ DC9 # [SOLD OUT]
03/13 – Brooklyn, NY @ Baby’s All Right # [SOLD OUT]
03/14 – Philadelphia, PA @ Boot & Saddle # [SOLD OUT]
03/18 – Austin, TX @ The Parish [SXSW]
03/19 – Austin, TX @ Seven Grand & Las Perlas [SXSW]*
03/19 – Austin, TX @ Banger’s [SXSW]
03/20 – McAllen, TX @ Cine El Rey @ DREAMS
03/21 – Dallas, TX @ Blue Light @ NSFWknd
03/24 – San Francisco, CA @ Rickshaw Stop #
03/26 – Los Angeles, CA @ Moroccan Lounge # [SOLD OUT]
03/27 – Los Angeles, CA @ Moroccan Lounge # [SOLD OUT]
03/28 – Boise, ID @ El Korah Shrine @ Treefort Music Festival
03/29 – Boise, ID @ Treefort Music Festival – Main Stage
# w/ Magdalena Bay
* DJ set
by Madi Toman | Mar 11, 2020 | albums, review
Four-piece indie rock outfit The Districts have just released their new album, You Know I’m Not Going Anywhere, the album that almost never happened.
After nearly 200 shows and two years of touring in support of their 2017 effort, Popular Manipulations, the band found themselves both professionally and personally exhausted. And, with the shadow of needing to create a new album looming over them, the Districts started questioning everything.
In a press release, front man Rob Grote said “It felt like much of my world had reached such a pitch that all I could do was try to tune it out. I felt really uncertain about the future of the band and super detached from much of what I used to identify with, on a personal level and with our music. I was thinking, ‘Do I want to keep doing music?’ ‘Do I want to keep doing it in this context?”. So Grote did what any musician having an existential crisis would do; he holed himself up in his bedroom and began writing, not necessarily for The Districts, but to get excited about creating again. It was here that he found the space and freedom he needed to be creative again. He ended up with a batch of 32 songs, and while he never intended them for The Districts, when he finally showed them to the band, they loved them. Those 32 were cut to 11, and thus You Know I’m Not Going Anywhere was born.
Album opener “”My Only Ghost” is an ode to secrets and memories with ones we’ve lost. The synth almost overpowers the vocals, (which have a Bon Iver kind of feel) but it works, giving the track a lo-fi feel. Between this, echo-y clapping, and thickly layered shout-y vocals, the song feels almost like chilling cult-like chant.
“Hey Jo” is the lead single from the album and the definite standout. A circus of sound, this piece is thickly textured, but the song is incredibly well put together. Credit to producer Dave Fridmann is owed here, whose mix expertly layered the many elements into a cohesive whole. This track floats on plucked guitars and airy vocals before kicking into a fiery chorus with Grote repeating “Fuck my head.”
“Cheap Regrets”, is an electrifying disco number on the surface, but the lyrical content dives into nihilism and the shadows of consciousness that lurk in our minds. This one has all the bright and shiny qualities that we love in a dance number while letting everyone listening still feel angsty as hell. Of the song, Grote says; “This song is a criticism of the divisions that result from a self-oriented society and an attempt to transcend them, while simultaneously being an example of these very ideas. The song is the statue to the self; it is about itself.”
Upbeat and full of glittery guitar, “Velour and Velcro” is a love letter to the unknown future we’re all rocketing towards.“Changing” ebbs and flows, enjoying sweet, quiet moments of reflection and questioning before launching into electrifying choruses. “Descend” is a deceptively chipper folksy string plucked number that deals with death and separation.
Closer “4th of July” strips it back and feels sweetly reflective. Hand picked guitar and sliding whistling ride over Grote’s breathy and thoughtful vocals. It feels like a cross-country road trip, and not just because he sings about his own to Sante Fe. It’s a nice full circle moment of peace and closure.
You Know I’m Not Going Anywhere is out everywhere on March 13th via Fat Possum.
by Madi Toman | Mar 9, 2020 | albums, review
Oakland rockers Whiskerman have just dropped their fourth studio album, Kingdom Illusion, which the band describes (rightfully so) as a “rock and roll vision quest”. Known for their ambitious songwriting, thunderous live show, and acute lyricism, the group is now emerging at the forefront of the revitalization of the Bay Area’s psychedelic and festival scenes. Frontman Graham Patzner (who’s rumored to be of the underworld himself) leads the group, which is rock-and-roll on the surface but rooted in the classic, psych, and glam rock traditions. Patzner is responsible for vocals, guitar, violin, and keyboards, and he’s backed by Will Lawrence on bass and mandolin, Dan Schwartz on drums, Charles Lloyd on guitar and sitar, and Jeremy Lyon on guitar. And if you think that you can gauge what they sound like based on that information, let me assure you; you haven’t the slightest clue.
The two lead singles, distortion-heavy rage track “Belly of the Beast” and physch-synth defiance number “Fuck Yeah” may give first-time Whiskerman consumers the idea that this band exists primarily in this vein of hard rock. And when I say hard rock, I’m talking your classic foot-stomping, heart-pounding, head-banging, parents-crying-over-their-teenager’s-newfound-rebellion hard rock.. You get it.
However, this is not the case here.
Album opener “Rattlesnake” begins in a tranquil piano ballad featuring gently strummed guitar chords and angelic falsetto guiding us through a lush forest of strings. The track is 6 minutes long and at the halfway mark the tone notably shifts, and Freddie Mercury-like vocals are traded for something more in the territory of Alex Turner. Sweet violins and languid piano are swapped for a quicker tempo and the kind of instrumentation you’d expect on a hard rock record, but as soon as you’ve settled back in, they fluidly bend back, rocketing back into the art-rock heavens. Color me impressed, these boys have range.
“Villains” brings an unexpected but welcome tinge of soul to the mix. The extremely heartfelt number feels both romantic and a little defeated. Bright, shiny, and teetering on sensory overload, it’s almost overwhelming, but in a manic-tinged triumphant sort of way. Think anthemic rock, but with psychedelic elements. Power dominates everything; it is present in the writing, the band, and definitely in Patzner’s voice, which possesses a beautifully raw intensity that is an absolute constant throughout the record, whether he’s scream-singing impassioned or tiptoeing across his ridiculously capable falsetto.
Operatic art-rock piece “Be Real” is a nearly seven minute journey that only Patzner himself could explain. “‘Be Real’ is a rock ‘n’ roll odyssey,” says the frontman. “A sacred jester drags a priest out from a church to take him on a psychedelic journey, revealing to him his hypocrisy and lack of separation to the rest of this world of clowns.” Drama is not something this band has to reach for; they exist in it.
“The Great Unknown” fluidly blends hard rock and psych, keeping the band’s effortless flexibility on constant display. “Something About Love” slows it down and gives everyone a minute or three-and-a-half to breathe before projecting us back into another dimension for the closer. Have no fear though, this track still holds tightly to the sonic jungle of sound that makes the record so damn cool in this brief moment of tranquility.
Not shockingly, the band ends on a dramatic and (of course) impressive note with the title track. The nearly 8-minute closer is a roller coaster of a ride to the pinnacle of rock glory, skillfully and sneakily pulling its many layers together. Strings swell, the sitar does whatever sitars do, and Patzner’s insane range soars up to the kingdom he’s singing of, backed by what could only be a chorus of angels. This illusion is painted with every color of the rainbow.
Kingdom Illusion is out everywhere now.
TOUR DATES
03.07•The Grove House (Mariposa, CA)
03.18•Satellite (Los Angeles, CA)
03.19•Last Exit Live (Phoenix, AZ)
03.22•Lost Lake (Denver, CO)
03.25•Rye (Salt Lake City, UT)
03.26•Treefort Fest (Boise, ID)
03.27•Treefort Fest (Boise, ID)
03.28•Treefort Fest (Boise, ID)
by Madi Toman | Mar 6, 2020 | albums, review
English singer-songwriter Anna Calvi has just released Hunted, a re-working of seven of the tracks off of her 2018 critically acclaimed album, Hunter, where she explored sexuality and breaking the laws of gender conformity. The album earned her a third consecutive Mercury Prize nomination and made her the first solo artist to achieve this feat.
In between touring, Calvi revisited her original recordings for Hunter and was drawn by how she found they offered “an intimate and private view of the songs’ initial intentions”. “These recordings capture the very moment I first wrote these songs, and recorded them on my own, in my attic studio,” she said in a statement. Calvi wanted to build on that feeling, and thus, Hunted was born. For the re-working she stripped the songs from the record back to their bones, letting the focus be on vocals, guitar, and contributions from a cast of talented artists that she recruited to help her on the acoustic project.
The companion album brings a new element of rawness and allows the songs to shine in a different patch of light. Bringing focus to the delicately-crafted composition from Hunter, Hunted lets the work of past and present meld together, creating something new and beautiful.
“Swimming Pool” opens the project with ethereal light. A siren song from another world, this version, like most on Hunted, exists in the same vein as the original but relies more heavily on vocals to craft and carry the track, trading polished for raw. Julia Holter joins Calvi on this one and is responsible for the heavenly choral arrangement that lifts it into another dimension.
“Don’t Beat the Girl Out of My Boy” serves as the lead single and features Australian singer Courtney Barnett. Barnett contributes grounding harmonizations with her trademark deadpan vocals and adds a new level of savvy style to the song. This version sees the instrumentation scaled back but loses none of the energy present on the original, letting the masterful guitars battle with the women for the limelight.
Charlotte Gainsburg helps gently breathes new life into “Eden” with her whispery vocalizations and Joe Talbot of IDLES does the opposite on “Wish”, channeling fire and fury to amazingly take a stripped back version of the track to a new level of intensity.
Calvi manages to take an artful record and let her fans consume it in a completely different way. She brings quiet elements from Hunter that could have easily gone unappreciated and overlooked out of shadow and into focus and remains open, honest, and unafraid to let other artists paint her work with their own colors while keeping its essence intact. While the threat of overworking their material could have been an issue for other artists, it’s just not present in this case. Calvi isn’t stuck holding onto the past; she’s just re-writing it.
Hunted is now out everywhere via Domino and will be supported by a new stretch of North American tour dates.
Anna Calvi 2020 Tour Dates:
01/31 – London, UK @ Windmill Brixton (Independent Venue Week)
02/11 – Paris, FR @ Ground Control Gare de Lyon
03/30 – Quebec City, QC @ Palais Montcalm
04/01 – Toronto, ON @ Mod Club
04/02 – Chicago, IL @ Empty Bottle
04/05 – Brooklyn, NY @ Music Hall of Williamsburg
04/06 – Brooklyn, NY @ Rough Trade NYC
04/09 – Los Angeles, CA @ The Echo
04/15 – San Francisco, CA @ The Independent
08/06 – Haldern, DE @ Haldern Pop Festival
09/19 – Hamburg, DE @ Reeperbahn Festival
by ImperfectFifth | Mar 5, 2020 | albums, review
Italian-British singer-songwriter Julia Bardo releases EP Phase, which is a piece of work that is centered by the idea of writing out your emotions. Bardo says she writes because “for me, music is about healing what is hurt inside of me. I heal by writing and talking about what troubles me”.
Phase examines the intricacies of trauma and of triumph, each track is written like a journal entry filled with observation. These observations examine the every day changing world through Bardo’s eyes. She captures her work as snippets of who she is at that moment, where she plans to go next, and where she has been. It is all a direct reflection of her life, and for that we are very grateful to witness songs with the raw sincerity of tracks like “Please Don’t Tell Me” and “Lonely Morning”.
Being influenced by Italian music of the 60’s and modern day musicians, Bardo creates a space that shines a light on her homeland of Italy, and her musical future. This 4 track EP was created to amaze, and we hope you get a moment to enjoy it in its entirety as well. Check out the first two tracks off the release below!
Phase is out March 6th. Keep up with Julia Bardo here.
Written by Kendal Chandler + Meredith Schneider
by Madi Toman | Mar 5, 2020 | albums, review
Jerry Williams Jr. has done it all: soul, R&B, country, disco, and, of course, among a myriad of other things, serving as “one of the great cult figures of 20th century American music.”
But he’s not finished.
Jerry Williams Jr., better known since the ‘70s as ‘Swamp Dogg’ (Before you question it, he beat Snoop Dogg to it) is releasing his highly anticipated, (so long as you consider Rolling Stone’s most anticipated albums of the year to be a reliable source), star-studded new album on March 6th. The record is produced by Ryan Olson (Poliça) and features the likes of Justin Vernon (Bon Iver) Channy Leaneagh, Chris Bearden and Jenny Lewis (Poliça), and none other than country-folk legend John Prine gracing it’s grooves.
Sorry You Couldn’t Make It is the follow up to Dogg’s critically acclaimed 2018 release, Love, Loss, And Autotune (also produced by Ryan Olson), which was his first LP to debut on 11 Billboard charts and his first chart ink since his immortal 1970 album Total Destruction to Your Mind, which also served as the debut album for William’s alter-ego Swamp Dogg. The now 77-year old cult icon has been on stage since he was 6 years old and began his professional singing career back in the ‘50s before working in A&R for Atlantic in the ‘60s. While he’s worn a lot of different hats over the years, his most enduring persona is the “psychedelic soul superhero” Swamp Dogg, a “musical vigilante upholding truths both personal and political”. His biggest hit came in the 70s with (ironically) country song “Don’t Take Her (She’s All I Got)”, co-written with his best friend Gary U.S. Bonds, which hit Top 40 when Freddie North covered it and #2 on the country charts with Johny Paycheck in 1971. This album sees Dogg finally go back to his roots after a literal lifetime in the industry to finally make a record that bears homage to the country music that he was raised on.
Lead single “Sleeping Without You Is A Dragg” (extra points for the clever and very on brand stylization) exists in a sweetly soulful vein. The album opener is a heartfelt introduction to the record, letting listeners get an initial taste of what they’re in for, which at first listen seems to be a more reflective and heartfelt version of the cult icon, undoubtedly a result of spending over 60 years fighting to keep up in an ever-changing industry. After a very long journey, Williams is finally getting to make the record that he has longed for, and it just feels right.
In a powerful revisit to his 70s hit, “Don’t Take Her”(She’s All I Got)” Williams brings new life to an old story through a devastating new take which features a backing band of 14 musicians, including Vernon and Lee. The sheer number of players incorporated into the track increases its intense beauty ten-fold, but Williams himself possesses the most heart-wrenching mix of country and soul in his delivery and is a force to be reckoned with on his own. His aching vocals shift focus from the persona that Williams has created over the years and brings the attention back to the raw and powerful talent that he’s always possessed, both in his vocals and his storytelling. It comes early in the album, but it’s hard to not point to the track as a climatic moment.
The legendary John Prine appears on not one but two tracks on the record, which is probably smart since according to Dogg, “It’s the first time I seen John since the sixties!”. Certainly seems that everyone would benefit from getting a couple of legendary collaborations before another 60 years manages to pass us by. Prine features on subtly psychedelic “Memories” and album closer “Please Let Me Go Round Again”. The latter was originally written and demoed by Williams in his 40s but is just now making its way onto a record, which feels just right as a perfect full-circle moment for Williams. The reflective number is a plea for one more chance at life, and knowing Swamp Dogg and his ever-changing identity and roles, it’s a chance he’ll probably get.
While more tame than much of Swamp Dogg’s work, SYCMI is still not your conventional country album. “Family Pain” is a blues number about a family ravaged by a crack addiction. “A Good Song” dives into Williams philosophy on the flexible border between country and R&B. But other songs fall more into the traditional vein of the country genre, calmly delving into lost love, regret, and reflectiveness. “Billy” depicts Williams visiting his late wife’s grave and telling her about their son. The duets with Prine delve into aging and regrets as the two old men look back on their lives. “Memories don’t leave like people do. That’s why in my mind I’m always gonna be with you”, Williams croons on “Please Let Me Go Round Again”. While SYCMI still possesses Swamp Dogg’s trademarks, it’s also a new side of Williams’ always outgoing alter-ego, one that borders on being- Well, Jerry Williams Jr. again. Perhaps the convergence of the two is just what was needed. Here’s to getting that one last chance, Swamp Dogg.
I’m Sorry You Couldn’t Make It is out March 6th via Joyful Noise Recording and Pioneers Works Press. Keep up with Swamp Dogg here.
by Meredith Schneider | Mar 4, 2020 | albums, review
Erik Harris leads electronic project Memory Cult into a stratosphere of sound like any other we’ve played around with for a while. Known for being wildly experimental, his latest release — a full-length titled In Conflict — is just as entrancing and out of left field as ever, and we’re certain today’s release is going to get your mind reeling.
Lead single “Pityful” is purely and electronic lover’s dream, and the perfect way to introduce the album as a whole. It doesn’t hurt that it was released as a single at the end of February, and has been dancing around in our heads for some time. But even the peculiar sounds of that track can’t adequately prepare you for what’s to come in this 9-track experimental stunner. Second track “The Center (Crawl Home)” reaches 50 seconds before soft, high pitched vocals are even introduced. By third track “Undecide”, the dance vibes are laid on so thick that we’ve already definitely decided we’re hanging on to see where this album takes us.
Whereas its predecessor is a bit muddled, fourth track “Estranged” is very obviously inspired by sounds of the 80s and 90s, a clear and gorgeous entanglement of R&B vocals and dissonance. We continue in the same version of ambience with “RE: Rejection”, and continue to climb into more trance-like, morbid sounds with “Apathy”, which is actually more of a rock ballad than anything else.
Once we reach the title track, there is a feeling of wonder and an almost otherworldly layer to the music that brings us into a different headspace. “Devotion” is haunting in its existence, not quite the reassuring jolt we were considering needing after this Matrix-adjacent masterpiece’s release. In fact, once you reach final track “Anorexia”, there is a mentality that you might be trapped in some pretty magnetic music, which has now captivated your senses. If you don’t think of the brainwashing scene in Zoolander during this song, then I wonder where your head started and how to pull yourself out. This song leaves you in a trance itself, however intensely inspired if you open yourself up to it.
And isn’t that what great music is all about?
Keep up with Memory Cult here.
