They can restrict an artist or band to only produce a certain sound, as to make sure they fit the genre they have been allocated. The track is anchored by one ceaselessly repeated phrase, “wastin’ away.” It is through the unfeigned repetition of these two words that we can begin to understand why Indians never die.Some say that the labels of genre are limiting. “Indians Never Die” works to reshape the way many of us think of heritage, identity, and human connection. Even though her ancestors don’t physically live forever, the customs and teachings they passed down are boundless. When she cries out, “Do you ever notice what’s around you? / When it’s all there, in the wake of you,” she is declaring the immortality of her people. Paul transforms anguish into something powerfully eternal. The third single off the album, “Indians Never Die,” probes these kinds of questions. What does it mean to grow up within a group that so genially protects Mother Earth, when society has inflicted so much harm onto it? How do you identify as a member of this community when you too are constantly evolving? The record is a reflection of self/identity, loss, and what it means to belong to a place and a people whose face has been tainted over time. Portland musician, Katherine Paul aka Black Belt Eagle Scout is one of those artists, and her debut album, Mother of My Children belongs to that rare breed. Have a listen and re-enter that place.Ĭertain performers possess a kind of earnest delivery - one that meets our ears in a deeply harmonious manner and allows us to better understand both the world and ourselves. It’s racing towards a feeling of deep exhilaration while sitting still.
“Wildflowers” is feeling like you’re walking barefoot on a warm, cloud-like surface only to look down and realize you’ve been walking on cold concrete with heavy boots. It cultivates an ideal balance between rich, maximalist production and a stripped-down sound that evolves organically with each passing moment. The track seethes with astral textures, layered synths and lavish yet earthy percussion. Instead of aiming to tell us exactly what each of their made-up settings might look like, they tell us what it feels like to enter that abstract space. French producer, Zimmer, and Sydney-based singer Panama’s recent collaboration, “Wildflowers” takes a different approach to this very concept. This perfect place exists nowhere besides in our own heads. It’s nearly impossible to jot down or sketch on paper. A setting that lies somewhere in between make-believe and a place we’ve actually been. We all have an imaginary place of escape. The second half of the song is a wordless celebration of the present, honoring what we have now and slowly building upon itself rather than tearing down the groundwork to create something potentially shinier. Based out of Seattle, the imagery most obviously alludes to the rapid growth and gentrification of the city, but Kuinka praises the good, rather than the perfect, in all its forms. “Every wall here says the phrase / ‘Heaven wants to hold me down,’” sings Zickler, with some abstract ideal of perfection preventing others from being content with anything.
“Wet Cement” calls to mind things that are never finished, never good enough or always improving, worry not if those improvements are for better or for worse. Lucius fans will appreciate the song’s subdued dance vibe and the vocal harmonies panned out wide, but the lyrics paint a darker picture of “landmines and concrete clearing out the town.” “Wet Cement” is a bouncy tune punctuated by Rick Astley-inspired drum fills and quick guitar trills, while low-end synths blend with Jillian Walker’s growling cello. Don’t let the perfect be the enemy of the good, says Kuinka singer Miranda Zickler, albeit with a far more vibrant energy.
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