![]() Bridgers and Oberst skillfully guiding him towards these new territories whenever the songs allow it. Quitters is another taste of Christian Lee Hutson’s love for fingerpicking indie folk as much as it is a space for him to unfold his poetic vein and at the same time celebrate his progress as a songwriter who is not afraid to gently open the door to new sonic paths. While looking back on his childhood on acclaimed Beginners, Hutson now seems ready to tackle the responsibilities and realities of a new decade in his life on Quitters – slowly expanding the basic framework of his former creation. Wrapped in haunting, intriguing melodies, all of these components permeate the album from the beginning to the end and elevate Hutson’s introspective songwriting throughout what feels like a darkish, bleak setting with little rays of light bursting through the exposed anxieties of the 31-year-old Los Angeles-bound singer-songwriter. Always carrying a bag full of nostalgia with him in his often wistful narratives that seem casual and subtle for the most part, but express a wry sense of humour and a love for details at the same time. A collection of thirteen songs that set out to stretch beyond the carefully crafted acoustic soundscape Hutson is known for. Two names that won’t need an introduction that seem to be a truly perfect fit for what Hutson was looking to accomplish on the beautifully introspective, but playful follow-up album. Two years later on Quitters, we get to hear just another collaboration between the two best friends with Hutson inviting Bridgers back on the producing chair along with indie icon Conor Oberst. ![]() The gently psychedelic ‘Holiday’ is bewitching escapism, stripped of irony or overthought.Sounds like … introspective indie folk gems with a twist.įans of indie folk music will most likely have come across Christian Lee Hutson in the past thanks to his noteworthy album Beginners (2020) which was produced by Phoebe Bridgers. ‘Luvin U Is Easy’ is a tender expression of blossoming love over a smooth Balearic instrumental. Yet at other points the group reveal hitherto unheard aspects of their personality. Their appropriation of ’90s aesthetics is so full-hearted that they’re unafraid to occasionally drift into full-on Eurodance territory. “Living life on the wild side just like a bear / We’re alive – we’re just animals with beautiful hair” Sugar Bones gurns like a third-rate playboy in an unplaceable accent on the deranged ‘What I Like’. ![]() It’s less silly but more assured, happy to let pumping ’90s-indebted rave instrumentals take centre stage as often as Planet and Bones’ storytelling. Nevertheless, it’s a decidedly different experience to its predecessor. Most of the songs are still about partying and fucking. The beats are still blaring, the grooves immediate and direct. On its follow-up, ‘TILT’, the Brisbane electro-poppers are still anything but subtle. READ MORE: Confidence Man: Australian party-starters go full ‘Tilt’ on their “weird and wonky” second album.Live, it was more preposterous still: a chaotic, out of time kaleidoscope of goofy dance moves and LED lights. ![]() Confidence Man’s first record, ‘Confident Music For Confident People’, was a masterclass in hyper-charged, over-the-top pop, fizzing with in-your-face grooves and hilarious lyrics about shit boyfriends, delivered with razor-sharp deadpan by the commanding Janet Planet and her himbo foil Sugar Bones.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |