Yowsa. Out of a list of new record releases last Friday that seemed very unpromising on first appearances, during the week I've managed to delve a bit deeper and come upon a set of highly varied and interesting new product. Not least this, Number One, the debut album from Canadian multi-instrumentalist Carlyn Bezic.
Bezic has had a long and varied CV before arriving at this, her latest identity. What should be foregrounded immediately is that she has had a long term working relationship with Meghan Remy aka U.S. Girls., one of my favourite musical artists of recent years.
Like U.S.Girls, Number One is deceptive, all glossy surfaces and shiny chrome. The American Dream essentially, a glorious highway a gleaming mall, or set of shiny towering skyscrapers in the heart of the modern metropolis. Though not so modern anymore, the cracks are showing. It's no revelation to state that surfaces can deceive and as with Remy, state of the art electro dance effects are the vehicles for a deep and fascinating exploration of the modern American condition.
Number One is never remotely hard work. It has melody and seductive beats, it's not a demanding listen and if that's what appeals to you then go with the tunes. But it has much more to offer than that, it's a highly modern and impressive politicised critique of the way we live or think, or are encouraged to think by corporate power. How we construct our identities and how, regardless of what we think of ourselves as modern, savvy consumers, it may not actually be ourselves that are doing the construction work.
Number One may not actually get to Number One, though it would be really great to see it there. It's a subtle and sophisticated record. It's also very good company, highly impressive for a record that never goes for the easy option. Perhaps, easier to like than love on occasion but I like it very much and will be back here I'm fairly sure fairly often, in order to get to know it better.
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