Many Things, All Great
Outlaw rockabilly partpunk Country, or more truthfully – not
needing to find the new words for what is familiarly excellent – this is
resurgent Country, the playing traditionally pedal-steel and country-rock with
twang in the vocal and instrumentation, the lyrics expressing a defiance that
has always been there in real rather than domesticTV Country and reflecting on
contemporary and obviously personal commentaries about identity and feelings. And Shook has a direct way of expressing this in person/interview,
for example,
“It’s so, so fucking frustrating to me to watch a bunch of
rich ass motherfuckers playing pop country parading around in skin-tight jeans
with their fucking bleached teeth and perfect hair singing about how hard their
life is and how they have to drink whiskey every night to cope,”
You can read the full album review and interview responses
here. Indeed, there’s some in-depth stuff out there to chase down if
interested.
It’s the music that prevails. A neat exemplar is the drawl
and heart of The Bottler Never Lets You
Down, a lugubrious paean to drinking in comparison with personal
relationships – so an inherent degree of dark irony – and that pedal-steel and
other guitar work sets its doleful but still punchy musical backdrop, Shook
singing with all the self-protest of someone who knows the actual truth.
Like her debut, reviewed here, this is pertinent, immediate
and delightful, and listening now has made my morning. Listen yourself to a full stream
at the ‘interview’ link above, or just do the sensible thing and get it here.
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