Creating a capital-m Moment in a song is more about the pitch than it is the big swing for the fences. It’s about anticipation and, more importantly, wondering what the big crack is going to sound like., the new record from Brooklyn-based Peaer, lives in those liminal spaces between the release of the pitch and the contact of the bat.
“Don’t” might be the best distillation of that sound, changing time signatures and decibel levels at the drop of a hat. A twirling guitar lick swerves in the negative spaces defined by tangible bursts of percussion and Katz’s strained vocals, setting the stage for a reverb-heavy, cacophonous bridge that leads into the track’s deceptive outro.
While those lyrics are incisive, other political lines on the album don’t fare as well. “Joke” attempts to turn the camera inward and recognize Katz’s own complicity in getting Trump elected. Mumbling over metronomic instrumentation, he doesn’t quite stick the landing: “I told a joke / At least it started as a joke / Now I’m sorry that I spoke,” Katz whispers, halfway to letting himself off the hook.
It’s not just the politics, either; “Ollie” is an ode to Katz’s dog that doesn’t amount to much other than a nostalgic vehicle for a surprisingly effective clarinet solo. “I.K.W.Y.T.” is about restraining yourself in the early stages of a relationship that reads more like a laundry list of red flags than it does an admittance of self-consciousness, eliciting squirms with lines like “Clenching my fist so I don’t cum too quick in my undies.
Still, Katz treats his voice like he does the other instruments on the record, leading to some great vocal runs that give the otherwise underwhelming lines an emotional heft. That’s evident in the auto-tune assisted back half of “Multiverse,” a trick that turns Katz’s simple, introspective lyrics into a more substantive meditation.
Source: Entertainment Trends (entertainmenttrends.net)
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