(Houndstooth)
A third album whips up a maelstrom of dislocated voices and junkyard-style percussion as the US musician plots a trajectory from her daughter’s imagined childhood to adolescence
When Katie Gately emerged in the mid-2010s, bedroom pop still felt like a distinct genre born of circumstance, rather than a stylistic umbrella under which even megastars now operate. But the intricacy and audacity of the California-based artist’s third album reclaim the term for digital gear freaks and tinkering hermits: meticulous and introspective, but with a maximalist sweep that reflects the workings of a chaotic mind.
Gately’s avant-pop style, on her scatty 2016 debut and 2020’s punishing Loom, loosely presaged the rise of manic, internet-bred hyper pop. Her songwriting instincts on Fawn/Brute transcend that genre’s conceptual and melodic perversion, instead producing electro mini operas that whip up a maelstrom of dislocated voices, honking saxophone and roughshod, junkyard-style percussion. She wrote the album during a stressful but hyperactive pregnancy and the songs plot a trajectory from her daughter’s imagined childhood – sing-songy, frantic, bewildering – into the pandemonium of adolescence.
Continue reading...by Jazz Monroe via Electronic music | The Guardian
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