![]() Between guitar scuffs and synth notes, Gish will throw finger snaps, a camera shutter, or an old recording about teaching parakeets to talk into the mix. She’s still using a USB microphone to record, but there’s an invigorating new clarity and sense of fun to her sound. In the year that followed her 2016 album Ed Buys Houses, which earned her acclaim as one of Boston’s best new artists, Gish strengthened her approach to production. Yet the more she does this, the more she stands out as a smart, plainspoken, entirely relatable young person in the post-Tumblr era. It’s as if Gish is standing atop a pile of books, so overcome with nerves that she repurposes their facts into self-effacing darts. Elsewhere, she chides herself for mispronouncing a Greek goddess’s name as “purse-a-phone” and questions her individuality through the eyes of a city rat, nodding to solipsistic philosophy, The Matrix and video-game NPCs as she goes. On the same song, she puts her noncommittal attitude in geopolitical terms to satirize the benefits of distance (“Maybe I wanna see him/But then again, I’m an isolationist”). “Two-faced bitches never lie/And therefore I never lie,” she sings on the guitar-scaling highlight “Sin Triangle,” using tongue-in-cheek phrasing to suggest something subtler than a garden-variety melodramatic sulk. “That, the rabbit, and a non-comedic lawsuit on top of that.” Later, she mocks dull conventionality with titles like “I’m Filled With Steak, And Cannot Dance.” But most of the time, she’s just trying to point out her weaknesses before someone else does. On “Good Magicians,” she twists a story of manipulation and emotional sleight-of-hand into a flirtatious ode to a trickster: “I would end up with Trix cereal’s mascot suffocated in a hat/And half a torso cut in half.” she muses. Gish’s uniquely skewed sense of humor is the album’s best hook of all. Moments like this show that she’s been honing her virtuosic skills for years, with or without an audience. Just listen to “Not But For You, Bunny,” where she introduces contrapuntal, almost contradictory vocal parts and channels Tom Tom Club to serenade her pet rabbit. (“i’m not studying jazz guitar i just looked up a ii V I tutorial once and want to get ok at it before i die LMAO,” she says in a typically self-deprecating note on her Bandcamp page.) Her rich vocal harmonies cascade on “Where the Sidewalk Ends” and encourage sing-along moments on “Impostor Syndrome.” Gish has credited her knack for complex arrangements to her naturally having perfect pitch-“If a car beeps in an F sharp, then I’ll know it’s an F sharp,” she told The Boston Globe-but the ingenuity of her songwriting is about much more than luck. Over the album’s 13 tracks, she uses electric guitar, melodica, MIDI instruments, and assorted percussion to evoke a one-woman show full of clever melodies, inventive hooks, and borderline-jazz guitar licks. This Animal Kingdom LP features five Cavetown songs and tracks from artists like Chloe Moriondo, Sidney Gish, and Spookyghostboy.As a solo artist, Gish is versatile enough to serve as her own backing band. At age 14, he started posting original songs and covers on YouTube alongside daily musings and behind-the-scenes vignettes, creating a barrier-free connection with his fans as they saw themselves in his music. The son of a professional flautist and Cambridge University's director of music, Robin Skinner - who's performed under the name Cavetown since 2013 - has musical talent literally embedded in his DNA. This Animal Kingdom LP features five Cavetown songs and tracks from artists like Chloe Moriondo, Sidney Gish, and Spookyghostboy. The Illusion Of Safety: 20th Anniversary ![]() Here Goes Nothing! Įurope: Live Recordings 2022 ![]() Shadow Of The Moon: 25th Anniversary Edition Bob Marley - Tuff Gong Jamaica Pressings.
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