The title of Priests‘ excellent new record, The Seduction of Kansas, refers to a 2004 book by Thomas Frank entitled What’s the Matter with Kansas? That book discussed how the political leanings of Kansas more or less predicted the political leanings of the country at large for a century. Priests hail from the nation’s capital and are thus front and center for the political circus there, so it’s no surprise that The Seduction of Kansas lashes out at elitism, “bro” culture, 1%’ers, xenophobia, consumerism, and pretty much everything John Carpenter predicted in They Live.
The album opens with the hard-hitting “Jesus’ Son,” which is both a reference to Lou Reed and the Velvet Underground (who are definite post-punk influences on Priests) and a middle finger to douchebags who think they can get away with anything (i.e., “I am Jesus’ son. I’m young and dumb and full of cum. I am Jesus’ son. I think I’m gonna hurt someone.”) because they’re rich dudes. The title track practically has the subliminal “CONSUME” message from They Live woven through it as vocalist Katie Alice Greer sings about how corporations and mass media try to seduce us every day and convince us that they are really all we need.
“Youtube Sartre” is a slick takedown of dehumanizing technology and online trolls (and G.L. Jaguar’s guitar work on it is excellent – blending shoegaze and post-punk riffs). Drummer Daniele Daniele takes over the vocals on the sexy / scary “I’m Clean” – a song about a murderess who snaps after the pressures of modern society finally become too much for her to bear. Bassist Janel Leppin’s groove on it is the sheath and Daniele’s vocals are the knife. “Ice Cream” is almost an industrial goth track thanks to the creepy fuzz bass and Daniele’s machine-like beats.
The snappy “Good Time Charlie” is about the U.S. war machine and how war is, for some, damn good money. Daniele comes back to sing lead on “68 Screen” – a sharp song about objectification with the rhythm section going to the forefront and Jaguar smartly backing them up because he knows how damn good Leppin and Daniele are working together.
In an interesting turn, Priests follow a song about objectification of women and being held up to standards found in media with a song called “Not Perceived” – a song about how easy it is to fade into loneliness and obscurity despite having access to devices that let us connect to anywhere in the world in a few seconds. “I’m a haunted house made of marrow and bone.” is one of the best, and for some people, truest lyrics of the year regarding the subject of loneliness and being disenfranchised.
Greer gets her Patti Smith groove on in “Control Freak” – a track that comes at you like a thunderstorm. Leppin’s rumbling bass is the thunder, Jaguar’s guitar the lightning, Daniele’s drums the driving rain, and Greer’s voice the raging wind. “Carol,” on the other hand, is almost a dreamy cruise on a summer day…but with a hint of mystery you can’t quite describe. The album ends with “Texas Instruments” – a lyrically searing takedown of xenophobia with Jaguar’s guitar work coming back to the lead with roaring riffs.
This is one of the best albums of the year so far. It’s packed with intriguing lyrics that reveal more with each listen and is a vital diary of modern times in not only the nation’s capital, but the rest of the country.
Keep your mind open.
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