Photo: Eve North
At this stage I have probably written about Dublin’s Meltybrains? enough times on this blog to negate them needing any introduction. Instead, let’s talk their new song, ‘New Don’.
There’s a quivering unease to the track: the intoxicating glamour of not-quite-prog sounds, the disturbing quiet of that glockenspiel and the glorious howling refrain of “why did I do that?”. Not for the faint of heart, it’s intense, eerie, weird electronic chaos and it is very very good. Plus the great (if somehow alarming) video is directed by the group along with previous collaborator Louise Gaffney, and was edited by the band’s drummer, Micheál Quinn.
The physical release of ‘New Don’ will take the form of a limited number of hand-painted Meltymasks, which come with a download code (via Little L Records). You can pre-order them here.
Also, as if you needed further proof of the delightful cult of Melty and why they are dons, their dope Bloomsday performance from earlier this year was in the related videos – check it.
I think everyone has some form of comfort music. The sort of songs that soothe and make you want to crawl into the blanket of their world, leaving everything else behind for just a little while. For me, it’s the music that is borderline celestial, with flourishes of somehow nostalgic, rich instrumentation and vocals that effortlessly pour with the sweetness of honeyed dessert wine. Think Beach House, Joanna Newsom, Julie London and, now, Kadhja Bonet.
A few days ago Complex posted a piece by Justin Charity with the somewhat inflammatory title, “Why Did Everyone Pretend To Enjoy Kendrick Lamar’s ‘To Pimp A Butterfly?'”. As a Kendrick fangirl at heart, I took issue with some of the writer’s arguments – in some ways, he seemed to be defaming a Holy Cow to provoke engagement. Overall, however, in discussing with a friend, I came to the conclusion that Charity had a point when it came to the differences between an album being enjoyable and it being important – and for all I think To Pimp A Butterfly is superb, it falls into the latter camp for me. More than that, in using the almost unanimous praise that TPAB was subject to more or less immediately after it leaked, Charity has raised some salient questions about how exactly the internet influences and, I would argue, pressures us to prematurely react to new music.