Chrysalism by Akira Trees.
What Year Are We In
It’s not a secret that this past year has been an unpleasant enigma in the eyes of the many. Los Angeles-based pop-rock band Kitten have pledged to convey this bizarre moment in time in their own kind of way and they do so with their newest track, titled ‘What Year Are We In’. The song, which also serves as a second single from their forthcoming studio album, depicts the many different oddities that have become the part of our day-to-day lives since the start of this year. However, driven by the nostalgic sounds of the ’70s and ’80s, ‘What Year Are We In’ wraps these oddities in a joyful robe, one that makes it feel like all of this has maybe been part of the world all along. And as Kitten’s frontwoman Chloe Chaidez proudly declares her need for sweet rock ‘n’ roll in the climax of the track, it becomes clear that Kitten’s newest track is the manifestation of this new peculiar world.
▌Christine and the Queens
More than three decades after the release of Indochine’s ‘3e sexe’—the song worthy to be crowned as a queer new wave anthem not only inside the francophone music scene but the outside of it as well—has reborn as a synth-pop reimagination with the help from the queer pop starlet Christine and the Queens. With the track’s lyrical content being as relevant and as inspiring as it was at the time of its initial release, the new sound given to the cult french track fits it like a glove just as well as the original one. The beautiful chemistry between the two vocalists—Indochine’s frontman Nicola Sirkis and Christine—emerges in their simple, yet passionate harmonies, adding additional edge to otherwise poppy tune. This chemistry between the two artists, coming together from two different generations, beautifully highlights the idea of gender fluidity that serves as a main topic of the track as well, but does so more through the visuals of ‘3e sexe’ rather than the song itself. The quite old schoolish music video, directed by Christine’s long time collaborator Colin Solal Cardo, feels like a simple but no less beautiful celebration of femininity, masculinity, and everything that lies in between.
While more than two years have passed since the British singer and songwriter Marina Diamandis chose to release music as a solo act, dropping her iconic Marina and the Diamonds moniker just before the start of her fourth studio album’s cycle, Marina’s newest release this month, an alternative pop track ‘Man’s World’, seems more reminiscent of her work than the singer’s most recent record Love + Fear. The release of Marina’s newest single hints the comeback of her campy storytelling, this time created by a mixture of Jennifer Decilveo’s dreamy production and Diamandis’s straight-forward lyricism. The song offers a somewhat fresh perception of what a feminist anthem should be today: instead of being plainly confrontational, the lyrical content of ‘Man’s World’, conveyed by Marina’s almost motherlike vocal delivery filled with glimpses of reverie and fatigue, seeks to reach a mutual understanding with the straight cisgender man about the wrongdoings of his world. A world whose alternative is created in the complementing music video, directed by Alexandra Gavillet, in which through simplistic visuals the desire for peace and unity is portrayed. And Marina’s ‘Man’s World’ serves as an invitation to fulfil a desire as beautiful as this one.
Seven years after her participation in the Lithuanian version of The Voice, the reality talent show alumni Gintė Sičiūnaitė presents her debut EP, titled novelės. Consisting of five tracks, the dream-pop record talks about befriending your ultimate companion—yourself. The second song from the EP, ‘atgal’, delves into this topic directly with the singer initiating an imaginary dialogue with herself. However, instead of creating a clear narrative in her lyrics, Gintė uses her dreamy vocals, soaring through the intimate production of the track to rather try and eternalize the sense of peace and fulfilment in this song. The sense that to Gintė could only be achieved by befriending yourself. And, as the chorus of ‘atgal’ hits, the singer promises herself and her listener to teach them what it means to do just that.
‘Elon Musk’ is the eyecatching name of a new single by Chrysalism, a vintage futurism band based in Northern London. This is the second song from the band’s discography that has found its home in i’m cyborg but that’s ok, a YouTube archive belonging to a music and film lover who has been sharing his various findings from both art forms for more than four years now. Chrysalism’s ‘Elon Musk’, a quirky sounding resident of this archive, depicts the melancholia of moving on. While the love is long gone, the reminiscense of it—for better or worse—is here to stay. This feeling of discovering the seemingly neverending leftovers from the lost love in your daily life runs through the lyrics of Chrysalism’s track. And nothing can swoop them, not even the idea of Elon Musk taking that lost lover to Mars.