Fluxblog Weekly #133: Stella Donnelly, Jonathan Bree, Keshi, Escape-ism, Sleigh Bells
November 6th, 2017
The Town Of Complacence
Stella Donnelly “Mean to Me”
There’s a lot of lovely songs in the world written about people who don’t deserve such beauty, and “Mean to Me” is almost definitely one of them. Stella Donnelly is singing about a failing relationship with someone who barely seems to like her, and is just dragging her along out of convenience. Even if you’ve never been in this relationship, you’ve seen it from the outside. This happens allllll the time. Donnelly’s vocal performance seems to take that into account – there’s something in her phrasing that comes off as a bit self-aware and knowing – but more than anything, it’s sweet and vulnerable and affectionate. This isn’t sung from the perspective of the relationship actually being over, it’s right there in the thick of it, right before the ending. There’s a bit of pleading in her voice, trying to make a case for better treatment. The must gutting bit is how wounded she sounds to be kicked around like this, particularly after the gorgeous, wordless bridge. The statement “you’re so mean to me” comes out sounding a bit like an incredulous question.
Buy it from Bandcamp.
November 7th, 2017
Everything Has Now Changed
Jonathan Bree feat. Clara Viñals “Say You Love Me Too”
Everything in “Say You Love Me Too” moves around a slinky, vaguely sinister bass line that loops through every moment of the song aside from the bridge. The drums, vocals, and keyboard parts respond to the bass melody – the singers convey low-key romantic obsession, the percussion emphasize the lascivious sexuality of the groove, the piano notes and organ drone suggest both a yearning and a void. In some ways, this is like Peter, Björn, and John’s “Young Folks” turned inside out, with much of the same aesthetic choices, but with that song’s sweetness and forward momentum flipped into sexual frustration and pacing in circles.
Buy it from Bandcamp.
November 8th, 2017
Close To No One Else
Keshi “Goes to Waste”
I’ve never been a big fan of Coldplay’s “Fix You” but I love what Keshi does with bits of it in this composition. A few fragments of Chris Martin’s vocal are chopped and screwed, and presented as a context for Keshi’s own vocal performance, which is rather feminine and delicate. The “Fix You” quotes are basically a jumping off point for a meditation on a dying relationship, but the airy, elliptical quality of the track evades the maudlin melodrama of Coldplay’s original. Also, crucially, whereas Chris Martin sings “Fix You” like someone still convinced he can make things right, Keshi doesn’t seem even slightly optimistic.
Buy it from Bandcamp.
November 9th, 2017
Now My Knees Are Bloody
Escape-ism “Lonely At the Top”
Escape-ism is the first music project Ian Svenonius has done entirely on his own, and he really makes the most of that by embracing a severe minimalism. He’s basically doing his own version of Suicide’s first record, but in this case, he’s both Alan Vega and Martin Rev. Svenonius’ voice is always the most interesting and exciting thing about any band he’s in, so placing all the emphasis of the music on it is a winning bet. There’s barely anything to “Lonely At the Top” other than a jumpy electronic beat and him alternating between sing-song verses and anxious bleats and squeals, and it’s incredibly compelling. He’s using the same musical tactics that Suicide used to convey claustrophobic tension and the threat of violence, but shifting it into farce – this isn’t sung from the perspective of some mentally ill street person, but rather the paranoid interior monologue of some rich guy trying to cling to power and prestige.
Buy it from Amazon.
November 9th, 2017
From The Edge Of A Life
Sleigh Bells “Favorite Transgressions”
The initial thrill of Sleigh Bells came out of the way Derek Miller’s incredibly loud and forceful tracks blasted out nuance in favor of delivering hooks with the maximum degree of urgency and physicality. As the band have progressed he’s found ways to hold on to that energy and impact while allowing for more shade and color in the arrangements, as well as room for Alexis Krauss to grow as a singer. Krauss’ approach to vocals shifted dramatically over the course of the past few records, and at this point her brash, belting voice is just as powerful as Miller’s beats and guitars. Their new EP Kid Kruschev places a lot of emphasis on her voice, and on a few tracks, completely cuts out the noise to focus on her melodies and phrasing. It’s interesting to hear the softer side of Sleigh Bells, but I’m even more intrigued by a song like “Favorite Transgressions” that contrasts that newfound delicacy with their signature moves. I love that they’ve been evolving towards what is essentially a modern take on the R&B-meets-pop-metal sound of Janet Jackson’s “Black Cat” and En Vogue’s “Free Your Mind.” It’s an incredible aesthetic that never went anywhere beyond a few hits, and it’s nice to see someone dig into it all these years later.
Buy it from Amazon.