Digital Leather (aka Shawn Foree) has all the energetic key prodding style, morose disposition and cold sarcasm of Gary Numan, but ups the ante with sinister vintage synth jabs,
simple mechanical beats and lyrics so unabashedly dark it’s hard to tell how seriously to take them
but then nothing says ‘twisted tongue-in-cheek’ like a Nazi slang album title.
Foree’s stiff-jointed vocals are almost expressionless throughout, while the music conveys ‘Warm Brother’’s fraught,
manic-depressive trajectory, from the vicious,
pounding momentum of ‘Bugs On Glue’, past some upbeat acoustic noodling, complete with cheerful whistling on ‘Hurts So Bad’,
right down to the bleakness of ‘My Fame’, a track of nauseous guitar wooziness and monotonous,
bitter ranting about a screwed-up relationship.
This should be a tough listen but is somehow strangely accessible.
Sometimes on the bus I’d cry myself to sleep because I missed home and I wanted to make new work.
I want to write, I want to feel passionate and inspired, I want to research things in books. Leather
That for me – studying and knowledge and feeling my brain working – is what being alive is all about.” I’ve never met anyone quite like Natasha Khan before.
Her reluctance to be ‘a star’ is refreshingly rare in itself, but she also talks about her music like all musicians should.
She refers to it as her ‘art’ or ‘work’ and steers clear of acting unimpressed or effortless at what she does.
It’s not as if she bounces off the walls screaming her excitement, but you can tell that inside that peach knitted jumper she’s
quietly slogged away to get where she is today, and she’s proud of that.
Perhaps that’s the key to ‘Two Suns’ being our favourite record of the year
because nothing gets the job done like good old fashion hard work.
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