Katie Gately

WHAT THE FUCK THIS IS AMAZING

New KG?? Hadn't heard about this, just looking it up now.

Looking forward to hearing this.

Love this

Very intrigued by the concept, sounds bonkers and awesome:

"It is an album of two halves, that moves from the effervescence of early years to the defiance and turbulence of teenage angst.

The first half channels inspirations from the busy and unsubtle dynamics of kids TV music and stomp and clatter of early Animal Collective albums, as in the brittle joys of "Howl". For the second half she was thinking about the brutalist sonic experiments of the British post-punk she obsessed over as a teenager, from PiL and Gang Of Four to This Heat, as in the industrial throb of 'Chaw' or the raw low end grafted onto sparse vocal lines in 'Brute', its massive basslines constructed from the manipulated rattling of cardboard shoeboxes.

In typical maverick style, Gately plundered cartoon sound libraries magpie-like to build signature nests of sounds, integrating her own idiosyncratic sound recording strategies and sampling techniques, from shoeboxes to theremin and with a boisterous recurring saxophone."

I think this is the album I have been wanting Gately to make ever since “Pivot” AKA “what if Kate Bush’s “Leave It Open” but an entire genre?”

This really is great. I don't know if I'll ever stop being a 'Pipes is the best' truther but I'm loving this right now.

meat is my jam

Yeah, only had one listen but 'Meat' really stood out to me, too.

It's the most pop she's ever been, but it suits her, she's absolutely leant into giving us a maximalist Pop Experience, flies by too

Almost absurdly dramatic album at times, but it works. "Howl" could be brought to stage.

The ~2:00 min mark of "Fawn" is my favorite moment on the album, serviced by the way she constructs the first two min. The pulsing beat and squeaking synths that kick things off remind me of Clark, but after that, I'm short on references...it sounds sui generis to my ears. The way she layers different vocal patterns, chopping them up digitally along the way, and allows the song to get right up to the edge of discomfort -- the instrumental passage at ~1:30 almost reminds me of something from Kid A -- is intoxicating. Then, she breaks the tension with the album's most captivating melody, adding an alto sax for good measure. The beat remains at the forefront as the song slowly evolves and dissolves away. Amazing stuff.

"Tame" is the other track that really stands out. It's such a physical album. I imagine seeing these songs performed properly live would be an out of body experience.