This was my third time seeing Gary Numan live, and it was the smallest venue I’ve seen him in so far. It was good to see a crowd of people happy to be experiencing live music again, and even better to see Numan and his band having a good time on stage.
His opening act was the one-woman band I Speak Machine, who came out looking like a Black Widow assassin and throwing down a set of darkwave mixed with kabuki, opera, and industrial grind. One of the best parts of her set was watching the reactions of some in the audience who didn’t know what to make of her, and of her not giving a damn what people thought.
I Speak Machine belting out operatic vocals for a dumbfounded crowd.
Mr. Numan came out to an appreciative crowd and proceeded to belt out a loud, sometimes furious set that mixed classics with hot tracks from his last two albums, Savageand Intruder.
Gary Numan being a rock god.
It was great to see him and his four-piece band having a good time. There were many moments when they were smiling or laughing. You could tell they were excited to be on tour. Numan’s guitarist, Steve Harris, was all over the stage, often mixing shredding solos with performance art antics. I’m fairly certain he broke a string or two just a few songs into the set from playing so hard.
Numan and crew
It was a great set, with standouts like “The Promise,” “Films,” “Ghost Nation,” “Love Hurt Bleed,” “Bed of Thorns,” “My Name Is Ruin,” “A Prayer for the Unborn,” and “Are Friends ‘Electric’?” Catch him if you can. He’s having a blast right now, and so will you.
Thanks to the woman who let me snap this photo of the set list she scored.
Today, Chicago trio Horsegirl announce their debut record, Versions of Modern Performance, out June 3rd on Matador, a summer tour, and present charged lead single/video, “Anti-glory.” Penelope Lowenstein (guitar, vocals), Nora Cheng (guitar, vocals), and Gigi Reece (drums) – the best friends comprising Horsegirl – do everything collectively, from songwriting to trading vocal duties and swapping instruments to sound and visual art design. The warmth and strength of their bond crackles through every second of their debut. With lyrics intentionally impressionistic and open-ended, and a sound that ranges with joy and enthusiasm across a range of styles, Versions of Modern Performance offers many pathways. Following last year’s one-off “Billy,” lead single “Anti-glory” is elastic and propulsive, entrancing listeners with a central call: “Dance / Dance / Dance / Dance / With me.” The accompanying video, directed by Erin Vassilopoulos, exudes confidence, putting Horsegirl front and center, their uncanny ability to layer sound on full display.
“We wrote Anti-glory almost by accident, while messing around with an old song during rehearsal. The song fell into place immediately, and looking back, we have no idea how we wrote it,” the band explains. “As always, this song and album are for Chicago, our friends, our friend’s bands, everyone who can play the guitar, and everyone who can’t play the guitar.” Watch Horsegirl’s Video for “Anti-glory”
The friendship of these three goes far beyond Horsegirl. Reece and Cheng, college freshmen, and Lowenstein, a high school senior, learned to play—and met—through the significant network of Chicago youth arts programs, and they have their own mini-rock underground, complete with zine distros, that they describe as somewhat separate from the “adult shows” that take place at bars and DIY spaces they don’t have access to. They’re exultant about their friends’ talent, noting that any of the bands from that scene could have been (or might still be!) plucked up the way they were.
Versions of Modern Performance was recorded with John Agnello (Kurt Vile, The Breeders, Dinosaur Jr.) at Chicago’s Electrical Audio. “It’s our debut bare-bones album in a Chicago institution with a producer who we feel like really respected what we were trying to do,” the band says. Across the record, Horsegirl expertly play with texture, shape and shade, showcasing their fondness for improvisation and experimentation. One can hear elements of the ‘80s and ‘90s independent music the band love so deeply and sincerely—the scuzzy melodicism of what used to be called “college rock,” the cool, bubbly space-age sheen of the ‘90s vamps on lounge and noir; the warm, noisy roar of shoegaze; the economical hooks and rhythms of post-punk. There’s even a bit of no wave mixed in for good measure. But as Horsegirl fuse all of this together, it feels not like a pastiche or a hacky retread but something as playful and unique as its predecessors. They’re best understood as part of a continuum, but they’re building something for themselves.
Horsegirl will tour North America this summer, playing their first ever shows in most cities across the country. This all kicks off with a special record release show at Thalia Hall in Chicago on Sunday, June 5th. Next week, Horsegirl head to SXSW before their debut performances in Philadelphia, Washington, DC and New York City. Full dates are listed below, and tickets for newly announced shows go on sale this Friday, March 11th at 10am local time. Watch Horsegirl’s Video for “Billy”
Horsegirl Tour Dates: (new shows in bold) Wed. March 16 – Austin, TX @ SXSW – FLOODfest @ Mohawk @ 2:00pm Wed. March 16 – Austin, TX @ SXSW – Roskilde Festival @ Cheer Up Charlie’s @ 10:00pm Thu. March 17 – Austin, TX @ SXSW – SX San Jose @ Hotel San Jose Thu. March 17 – Austin, TX @ SXSW – Gorilla vs. Bear x Luminelle @ Seven Grand @ 11:15pm Sat. March 19 – Philadelphia, PA @ PhilaMOCA Sun. March 20 – Washington, DC @ DC9 Tue. March 22 – Brooklyn, NY @ Market Hotel Sun. May 29 – Allston, MA @ Boston Calling Festival Sun. Jun. 5 – Chicago, IL @ Thalia Hall (RECORD RELEASE SHOW) ^ Fri. Jun. 10 – Giessen, DE @ Stadt ohne Meer Sun. Jun. 12 – Mannheim, DE @ Maifield Derby Thu. Jun. 16 – Antwerp, BE @ Trix Bar Fri. Jun. 17 – Paris, FR @ Pop Up Du Label Sun. Jun. 19 – London, UK @ Paper Dress Vintage (EARLY SHOW) Sun. Jun. 19 – London, UK @ Paper Dress Vintage (LATE SHOW) Tue. Jun. 21 – Manchester, UK @ YES (Basement) Wed. Jun. 22 – London, UK @ Bermondsey Social Club Sun. Jun. 26 – Bristol, UK @ Rough Trade Bristol Tue. Jun. 28 – Cologne, DE @ Bumann & Sohn Wed. Jun. 29 – Berlin, DE @ Monarch Fri. Jul. 1 – Denmark, DE @ Roskilde Festival 2022 Sat. Jul. 2 – Hamburg, DE @ Molotow Upstairs Fri. Jul. 15 – Vancouver, BC @ Wise Hall * Sat. Jul. 16 – Seattle, WA @ Neumos * Sun. Jul. 17 – Portland, OR @ Polaris Hall * Tue. Jul. 19 – San Francisco, CA @ Rickshaw Stop Thu. Jul. 21 – Los Angeles, CA @ Zebulon * Fri. Jul. 22 – Los Angeles, CA @ The Echo * Sat. Jul. 23 – Santa Ana, CA @ Constellation Room * Tue. Jul. 26 – Minneapolis, MN @ Fine Line * Wed. Jul. 27 – Madison, WI @ High Noon Saloon * Fri. Jul. 30 – Sat. Jul. 31 – Detroit, MI @ Mo Pop Festival Tue. Aug. 2 – Columbus, OH @ Rumba Cafe * Wed. Aug. 3 – Cleveland, OH @ Grog Shop * Fri. Aug. 5 – Toronto, ON @ Velvet Underground * Sat. Aug. 6 – Montreal, QC @ Petit Campus *
^ w/ Lifeguard, Friko, Post Office Winter * w/ Dummy
Keep your mind open.
[Get on the subscription horse.]
[Thanks to Jaycee and Jessica at Pitch Perfect PR.]
BODEGA, the Brooklyn post-punk outfit, has long been fascinated with technology and all its goods and ills. Their new album, Broken Equipment, references this many times, first in the album’s title. Broken gear is a source of worry, anguish, and / or rage in this day and age due to our over-dependence on technology. BODEGA knows this, and openly discuss how they, too, fall victim to these glitchy woes.
Opening track (and the first single released from the album), “Thrown,” has lead singer Ben Hozie singing about how he has a Bermuda Triangle within him that sucks him into situations where he’s not sure how he got there or how to get out (“I was thrown here by chance…I was targeted by big rock ads…”). “Doers” is a poke in the eye of tech-bros and people who think their moving and shaking is actually going to amount to something in the grand scheme (“Ten minutes planning my next ten minutes!”).
“Territorial Call of the Female” has Nikki Belfiglio taking on lead vocals, which always means you’re in for a treat. Belfiglio’s vocals are often a great mix of snarky and sweet, and this track about ladies sometimes unintentionally sabotaging each other is a great example. “NYC (Disambiguation)” takes a brutal, honest look at NYC’s history – warts and all. “Statuette on the Console” ups the punk in their post-punk, taking off like a hot rod from the green light in an illegal street race. Belfiglio embraces her love of Patti Smith, Wendy O. Williams, and Poly Styrene, and the guitar solo on it by Dan Ryan is top-notch.
“C.I.R.P.” takes a shot at media elitists (backed by a wicked bass line from Adam See). “Pillar on the Bridge of You” is a delightful love song Hozie wrote to Belfiglio in which he claims all he wants to do is support her. “I have so many things to offer,” Hozie sings on “How Can I Help YA?” – a song that seems to be about self-proclaimed influencers. Ryan unleashes another solid solo right in the middle of it. “No Blade of Grass,” influenced by the bleak (but excellent 1970 disaster film of the same name), has Hozie and Belfiglio singing about how we’re constantly pummeled by disasters both real and imagined, mainly to benefit those with more wealth than us (“We need strength and discipline…So, give more power to the rich, they say. Inequality, it is natural.”).
The band’s fondness for The Velvet Underground comes through on “All Past Lovers,” which has that cool, driving beat (provided by Tai Lee, who sizzles on the entire record, really) and almost-drone guitar that is hard to do without sounding like a damn mess. Hozie dreams of rest and escaping loneliness on “Seneca the Stoic.” The album ends with “After Jane,” an acoustic ode to Hozie’s mother – with whom he admits he had a rocky relationship at times, and that her battle with mental illness was one of the hardest challenges of their life together, but he acknowledges that he now can “channel your hurt when I sing my songs.”
Broken Equipment is another sharp record from a band that has taken critique and self-critique to Zen levels and can make you pogo while doing it.
Formed by the members of the beloved and now defunct New York post-punk band Pill and their NYC underground peers Eaters, P.E. have been trafficking in boundary-pushing, dystopian grooves since the release of their mesmerizing first single “Top Ticket” in 2019. Collaborating with artists like Parquet Courts, Xiu Xiu and Liars, the band have developed a growing cult following that has continued expanding as they come to broader attention with the release of their first LP Person, in 2020 and last year’s The Reason For My Love EP, which have earned praise from outlets like Stereogum, BrooklynVegan, Bandcamp, The Guardian (who had the EP’s title track on their 2021 Best Songs You Haven’t Heard list) and Pitchfork (who had the EP on their list of Great Records From 2021 You May Have Missed). Today, the band are returning to announce their most fully-realized artistic statement to date, an album called The Leather Lemon that will be released on the buzzing Brooklyn label Wharf Cat Records (Palberta, Water From Your Eyes, Lily Konigsberg) on March 25th, and sharing that album’s first single “Blue Nude (Reclined)” which is premiering today on FADER.
LISTEN: to P.E. – “Blue Nude (Reclined)” on YouTube // FADER
Writing about the band’s last single The Guardian said that P.E. channel “the fidgety, dark, and inescapably danceable sound of Mudd Club-era, underground bands like Bush Tetras, the Contortions and ESG,” and this latest single feels like a further refinement of that direction. Their sound is far from a retread however, as they process the sounds of the 70s and 80s Lower East Side through the filter of contemporary influences and recording techniques, using surprising building blocks to create something that is as effective as pop music as it is forward-looking.
“This was one of the first songs we wrote for the new record, shortly after settling ourselves mentally & physically around the country,” singer Veronica Torres says of the song. “With all of our tour plans scrapped in the initial wave of the pandemic, the five of us decided to put our energies into writing new material for the next record, trading files back and forth in order to shape our new sound. “Blue Nude” quickly became an inspiration for the rest of The Leather Lemon – something that foregrounded both the song and the sound, as fun as it was abstract.”
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P.E.‘s sophomore album, The Leather Lemon (Wharf Cat Records, out March 25, 2022), ushers in a new era for the New York band. A wild ride through chewy bubblegum pop, sweeping synthetic orchestrations, and mutant club beats, the album slides ever closer to the fully-realized pop sensibility only winked at with their debut album Person (2020) and subsequent releases.
Digging into mystery, romance, and sex appeal with The Leather Lemon, the group — composed of members of Pill (Mexican Summer/Dull Tools) and Eaters (Dull Tools/Driftless) — centers its sound within a Bermuda Triangle of dance music, electronic composition, and experimental rock. Members Jonathan Schenke, Bob Jones, and Jonny Campolo play within pop parameters, building upon free-form collaboration to create a fluorescent groove machine that harnesses the energy of their frenetic live shows. Singer Veronica Torres explores her softer side, expanding her vocal repertoire from spoken word and jagged growls to cherubic and sensuous psalms. Sax virtuoso Benjamin Jaffe’s chiseled experimental tone is heard in an extended solo of true romance in “Tears in the Rain,” a somber surrealist duet penned by Torres and Andrew Savage, singer/guitarist of Parquet Courts.
Recorded primarily at Schenke’s Studio Windows in Brooklyn, NY, The Leather Lemon was cultivated from a fertile creative period between spring 2020 and summer 2021, which also yielded 2021’s acclaimed The Reason For My Love EP, of which Pitchfork writes:
The quintet refines their impulses on their 2020 debut Person and transforms them into a body-moving EP. The jittery electronics are still there, but the drum cuts feel sharper and lighter, bringing a sense of structure to what could easily be shapeless. Vocalist Veronica Torres abandons spoken-word and leans fully into singing about poetry, beauty, and the contours of the body. Her lovely vocal stretches fill up the space once occupied by industrial bass drops. Sensuality suits them well.
The Leather Lemon is a reckoning record for the times; an album of psychedelic resurfacing, real-time response to world events, and soft, sympathetic magic. This is a collection of songs shaped by five individuals who embrace music-making as a way to center themselves in times of uncertainty; it’s resilience and imagination given shape. The Leather Lemon is a true sweet-and-sour listening experience, an album as bright and clear as it is fractured and fun. Get turned UP and ON with the electrifying new lemon drop from P.E.!
The Leather Lemon will be released on Wharf Cat Records on March 25th. It is available for preorder here.
Excitement just keeps building behind the Leeds band Yard Act ahead of the release debut LP, The Overload,which is due out via Island Records and their own imprint Zen F.C. on the recently revised release date of January 21st. The album follows a collection of early singles released in 2020 and early 2021, that immediately caught on in their home country, earning accolades from outlets like The Guardian, NME and Loud & Quiet, and creating a stir in the US, earning praise from outlets like NPR, Stereogum, Paste and Under The Radar, who designated them a band to watch in 2021. The band’s hot streak has continued apace, recently garnering the support of high profile fans in Elton John and Cillian Murphy, selling out a run of shows, appearing on the soundtrack to the latest FIFA game, and performing their album’s title track on Later…w/ Jools Holland.
Following on the heels of “The Land of The Blind,” the band are sharing a new track and video “Payday”.
Speaking about the new single, Smith explains: “‘Payday’ was one of the few tracks on the record we had to rebuild completely in the studio because the first demo was recorded on my computer and the hard drive corrupted. We spent about TWO hours trying to figure out that stupid keyboard part I’d put on it and couldn’t remember how to play. It was boring but worth it. It’s about gentrification, class fetish and how the human brain is so powerful that with enough time and processing power combined it will be able to justify, defend and/or continue to commit the actions of any human being it controls.”
The accompanying video is the band’s third collaboration with director James Slater and his production team, following “The Overload” and “Land Of The Blind”, and further develops the world Yard Act have created and the characters that exist within it. Smith says: “We wanted to do something less location and narrative based for this video, so an infinity white studio served as the perfect purgatory for an anti capitalist anthem funded by a major record label. It was great to get Kayleigh from ‘The Overload’ car boot shoot back with her friends, and they choreographed a brilliant dance routine for it themselves, which really brings the video to life. It’s also nice to finally be able to explain all the lettuces that kept cropping up in the previous videos.”
No, you didn’t miss three posts. I only attended day four of Chicago’s annual Riot Fest this year, and it was the first Riot Fest I’d attended. A friend scored some free tickets, and far be it from me to pass up a chance to see Devo and The Flaming Lipson the same bill.
This was the hottest music festival I’ve attended in a long while. There was little shade to be had, but sunscreen and taking frequent breaks between sets meant not suffering too much. A freshly made fruit smoothie from a vegan food vendor did me wonders.
The first set we caught was by The Gories, who opened one of the main stages. They sounded loud and dirty, and I’d love to see them in a small venue, but I’m glad I finally got to see these Detroit punk legends.
The Gories!
We walked around Douglas Park and discovered the festival was widely spread out. Food vendors were in one far corner, while a smaller fifth stage was seemingly a half-mile away in the opposite corner. You’d think they’d wheel out some portable light posts with all that room, but no.
Up next were HEALTH, and one of my friends fell in love with them upon hearing their industrial set under sun so bright that their bassist / synth player had to cover his keyboards with trash bags so he could read the digital displays on them.
The sun wasn’t healthy if you weren’t wearing sunscreen that day.
After a nice break under a tree, we trotted over to the smallest stage to see Chicago noise rockers Melkbelly, who played a fun set that included a cover of Pixies‘ “Gigantic” in an attempt to make up for Pixies cancelling their tour this summer. They were so out of practice with performing live shows due to the pandemic that they forgot their merchandise in their van.
Melkbelly playing to a lot of local fans.
I scored some chicken tenders that were average at best while my friends scored an elephant ear. Riot Fest has carnival rides on site, and I can only imagine how many drunk attendees regret getting on them over the course of the weekend.
We returned to the Rebel Stage to see Bleached perform their first set in two years (according to them, and a running theme for live shows everywhere this year), right after a guy walked by us peddling mushrooms to anyone who wanted them. They sounded great, and I would’ve liked to have stayed for the whole set, but Devo was calling…
Bleached having a fun time in the sun.
The stage was packed for Devo, complete with a mosh pit and crowd surfers. It was a fun set in which they played nearly the entire Freedom of Choice album. The whole crowd was happy and still buzzing afterwards. One guy was high-fiving people and telling them, “You just saw Devo!” It was the first time my friend, Amy, had seen them. She said she smiled so much during the set that her cheeks hurt afterwards. A delight for me and my friend (and Amy’s cousin), Brian, was getting to hear Devo’s cover of “Secret Agent Man” live for the first time. I wasn’t sure I’d ever get to hear it.
De-evolution is real!
Brian and I stuck around for the Flaming Lips‘ set. Brian hadn’t seen them before, and we couldn’t get close to the stage by they started – mainly due to them starting right after Devo’s set. It was still a good set, and nearly the same as when I saw them at Psycho Music Festival. Wayne Coyne encouraged everyone to take care of each other and stay healthy so live music can continue. Amen to that.
The Flaming Lips blowing sun-baked minds.
It was a good time (and Brian’s first music festival, no less), but would I go back? The short answer is, “I don’t know.” There were a lot of bad bands on the bill on day four, and I don’t think the other three days were much better. A lot of the bands playing the various stages sounded like Rage Against the Machine rip-offs, screamo nonsense, or pop-garbage. We got the hell out of there before Slipknot and Machine Gun Kelly started their sets and laughed as we passed a guy selling nitrous oxide balloons outside the park. I might return if the lineup gets better, and they’ve already announced another Misfits reunion for 2022, but Douglas Park-area residents won’t be happy about it…
In June, Hubert Lenoir returned to announce his second album, with a track called “SECRET” that featured drums from Mac DeMarco and contributions from Kirin J Callinan, and arrived alongside a feature on the exciting Quebecois artist in The FADER. Today, Lenoir is sharing a second preview from the album in the form of the single “DIMANCHE SOIR,” which involves Future producer High Klassified, and coincides with the formal announce of the album’s September 15th release date and a new change to its title, which is now PICTURA DE IPSE : Musique directe.
WATCH: the video for Hubert Lenoir’s “DIMANCHE SOIR” video on YouTube
“Coming from a conservative background and going to school in the countryside of Quebec, a lot of my parents’ friends or partners thought I was this weirdo queer artsy no good loser and once I achieved success with my art in the last 2-3 years the whole vibe started to change,” says Lenoir of the track. “I remember being so confused by it. The song talks about social pressure coming from your family circle and materialism. How weirdly your social status and wealth can switch the opinion people have on you.”
Dry Cleaningis “one of the most exciting bands in rock” (Rolling Stone). Earlier this spring, they released their debut album New Long Leg via 4AD, which has already become one of the best records of 2021 thus far. Following praise from The New York Times, Pitchfork, Entertainment Weekly, The FADER, Esquire, and more, and preceding their completely sold out fall US tour, they today present a special one-off double A-side single, “Bug Eggs” b/w “Tony Speaks!” Recorded at Rockfield Studios in July and August 2020 during the same session for New Long Leg, “Bug Eggs” and “Tony Speaks!” were previously only available in an expanded Japanese edition of the album. Explaining the two tracks Florence Shaw says, “’Bug Eggs’ is about the confidence that comes with age, fragility and sexual desire. The lyrics to ‘Tony Speaks!’ were written days after the Conservative party won the December 2019 UK election. I was thinking about climate change, environmental catastrophes and political campaigning.”
Born from the combined creative talents of Nick Buxton (drums), Tom Dowse (guitar), Lewis Maynard (bass) and Florence Shaw (vocals), Dry Cleaning’s debut album New Long Leg was produced by John Parish at Rockfield Studios and features the singles “Scratchcard Lanyard,” “Strong Feelings” and “Unsmart Lady.” Intertwining Shaw’s spoken vocals tightly with the band’s restless instrumentals they extract the meaning from the most trivial things; little witty asides about supermarkets, cupboards, beauty products and body parts add up to sonic landscapes that teem with the strange magic of ordinary life.
Part-krautrock, post-house, part-funk, part-art rock, part…I don’t know what, Museum of Love‘s Life of Mammals is weird and wild.
“Your Nails Have Grown,” for instance, starts the album with Pat Mahoney and Dennis McNany‘s mechaniker krautrock synths for beats and lyrics about someone lost to time, and the extended, haunting saxophone solo by Peter Gordon is outstanding. The title track brings in ambient synths to blend with funky bass and hand percussion beats. It’s a song about facing reality and casting out illusions (“It’s a shocking truth. You were raised by wolves, but never told that rabbits eat their youth.”).
“Marching Orders” is a highly danceable track (those killer beats!), with a whistled chorus and lyrics about retreating into stability and walking away from chaos and the rat race. “Hotel at Home” could be a song about touring or living in quarantine with lyrics like “Everything you’ve done is washed away. This room wasn’t really yours anyway. Curl up and watch. Lockup extended stay.”
“Cluttered World” is a sauntering, sexy track about cutting away attachments in hopes of filling up the space in our homes and heads with better pleasures. “Ridiculous Body,” with its swaying bass and tense drums, is a witty take on toxic beauty and the ravages of time. “Flat Side” has dark-wave elements in its synths and lyrics about patience in love. The guitar on it soars like a robot hawk.
“Army of Children” is a song about regret, and not being able to fix bad habits (“When we met I was a picturesque wreck hanging around your neck…Why can I ever seem to stick to the plan?”). The addition of country guitars and Edwyn Collins-like vocals gives a cool, bluesy feel to the track, even when dance drums walk into the room. Bold horns and bouncing synth-beats propel “The Conversation,” which tells the tale of a talk going out of control in rapid time. The album closes with “Almost Certainly Not You,” in which we hear the tale of a relationship in which someone claims they’ve been telling the truth the whole time, not the other. The song is punctuated by finger snaps and synths that feel like sunlight breaking through cigarette smoke.
A lot of the album sounds like that image feels: Mysterious, yet bright. Angry, yet cheeky. Stealthy, yet bold. It’s a winner any way you slice it.
Japanese quartet CHAI reveal a new single/video, “Nobody Knows We Are Fun,” from their forthcoming album, WINK, out May 21st on Sub Pop. It’s the third single off of the album released thus far, following “Maybe Chocolate Chips” (Feat. Ric Wilson) and “ACTION.” CHAI are known for their fun, vibrant music videos, and “Nobody Knows We Are Fun” is no exception.
Directed by Hideto Hotta, the video is cinematic and polished, showing the band adorned in colorful outfits and settings. The track was inspired by an at-home activity: YUUKI was watching 2019’s Booksmart when she had the idea for the song. (The movie’s whip smart protagonists decide to attend a party before high school graduation after realizing, “Nobody knows we’re fun!”) “I thought, ‘We, CHAI, can really relate to that scene,” YUUKI said of the song, which the band describe as “a mix of screaming our annoyances—why don’t you guys notice us!—while trying to be cute and sexy.”
Let’s check in with CHAI and see what they have to say about the song:
“It’s like ‘Nobody Knows We Are Fun,’ right?!” “Seriously! Not cool!” “Perhaps they underestimate us? ♡” “Or maybe they are like ‘don’t be a show off!’” “Say what you want! What matters is that despite always being ourselves and never changing, we are still the most FUN!” “Totally!! ♡♡” “It’s that type of song! Take a listen and loosen up♡”
CHAI is MANA (lead vocals and keys) and KANA (guitar), drummer YUNA, and bassist-lyricist YUUKI. Following the release of 2019’s PUNK, CHAI’s adventures took them around the world, playing their high-energy and buoyant shows. Like all musicians, CHAI spent 2020 forced to rethink the fabric of their work and lives. They took this as an opportunity to shake up their process and bring their music somewhere thrillingly new. Rather than having maximalist recordings like in the past, CHAI instead focused on crafting the slightly-subtler and more introspective kinds of songs they enjoy listening to at home—where, for the first time, they recorded all of the music. They draw R&B and hip-hop into their mix (Mac Miller, the Internet, and Brockhampton were on their minds) of dance-punk and pop-rock, all while remaining undeniably CHAI.
WINK is also the first CHAI album to feature contributions from outside producers (Mndsgn, YMCK) as well as Ric Wilson. This impulse towards connection with others is in WINK’s title, too. After the “i” of PINK and the “u” of PUNK—which represented the band’s act of introducing themselves, and then of centering their audiences—they have come full circle with the “we” of WINK. In that act of opening themselves up, CHAI grew into their best work: “This album showed us, we’re ready to do more.” WATCH CHAI’S VIDEO FOR “MAYBE CHOCOLATE CHIPS” (FEAT. RIC WILSON)
