“Never have I been so at peace with the imperfect side of myself.” “As I get older I feel more in touch with my flaws as something I can integrate, as opposed to something I suppress in order to spin some yarn of perfection,” Guldemond says. “You may just watch me disappear,” he sings against the silence. “Am I to die alone and sublime?” Guldemond asks before ending the album as if it had all been an illusion - with a vanishing trick. No subject is taboo for Mother Mother on “Very Good Bad Thing”: male body image (“I Go Hungry”), morning-after self-loathing (“Have It Out”), bullying and suicide (“Kept Down,” inspired in part by the death of Amanda Todd). “F - – yeah, I’m a deviant,” Guldemond proclaims on the proggy “Reaper Man,” which pounds its way through your cerebellum like the giant walking hammers from Pink Floyd’s “The Wall.” “I know I’m supposed to integrate,” he snarls, “but how’s about instead I inch away?” Mother Mother come out swinging on “Get Out The Way,” a super-charged call to arms Guldemond describes as not letting anyone to get in the way of your truth, whatever your truth may be.
Human “malfunctions” are cause for celebration on “Very Good Bad Thing.” “But there’s not a lot of denial,” Guldemond says. “I think it’s peppier and more of a party, but at the same time the torture is very apparent,” singer/keyboardist Jasmin Parkin says. Mother Mother has always reveled in contradiction.“It’s the person, the humanoid…that’s the very good bad thing.”For Ryan Guldemond, there is no denying the human condition in all its tragic, conflicting nature.Two years after the Juno-nominated “The Sticks,” the band’s apocalyptic 2012 album steeped in isolation and dread, the Vancouver quintet returns with its fifth studio album, “Very Good Bad Thing”: an edgy, synth-heavy, club-driven rock record filled with massive hooks.īut as is the band’s trademark, behind the gauzy boy-girl vocal harmonies, angular guitar lines and infectious rhythms lies something deeper and darker.
0 kommentar(er)
