Bitch: A Feminist Response to Pop Culture - - MUSIC REVIEWS - Kitty, Daisy & Lewis { Sun­day Best Record­ings } —Nitzan Pincu

Kitty, Daisy & Lewis ap­pear to be a nice Amer­i­can rock­a­billy–in­spired band that is heav­ily and pa­tri­ot­i­cally in love with their own le­gacy. On Superscope, songs such as “Black Van” and “Down On My Knees” are fa­mil­iar and com­fort­ing be­cause of their sim­ple and up­lift­ing melodies. We’ve heard this kind of mu­sic be­fore: tra­di­tional rock­a­billy with mostly fun and high-en­ergy love songs, mu­sic you can lose your­self to in wild swing danc­ing. This genre was mainly pop­u­lar around 2010, with artists like Duffy, Amy Wine­house, and Holly Go­lightly pro­vid­ing dance-floor hits. Since their sound is fun­da­men­tally Amer­i­can in its tex­ture and rhythm, I was pleas­antly sur­prised to dis­cover that Kitty, Daisy & Lewis are an An­glo-in­dian band from Bri­tain, not the ar­che­typ­i­cal white South­ern Amer­i­can rock ’n’ roll band they ap­pear to be.

In her book What Are You Do­ing Here? A Black Woman’s Life and Lib­er­a­tion in

Heavy Metal, jour­nal­ist Laina Dawes painfully de­scribes the dilemma of lov­ing rock

’n’ roll. Her close fam­ily was dis­ap­pointed in her choice to lis­ten to “white peo­ple’s mu­sic” rather than em­brac­ing her own mu­si­cal her­itage, and she felt iso­lated within the pre­dom­i­nantly white, het­ero­sex­ual, and male metal com­mu­nity. I won­dered if Kitty, Daisy & Lewis faced the same strug­gles while record­ing Superscope, but the al­bum doesn’t show this kind of con­flict. Through their mu­sic, they’re pre­sent­ing a rock ’n’ roll heaven in which artists can make any kind of mu­sic, no mat­ter their her­itage or na­tion­al­ity.

The al­bum’s fun, lov­ing, and op­ti­mistic spirit sounds like storm­ing through Ari­zona’s bare sunny deserts to drink milk­shakes and eat ham­burg­ers at the lo­cal diner. “The Game Is On” is a lively tune that makes you want to get up and dance. The vo­cals evoke Blondie in its hey­day: “I want to take a rest/ Have fun at best/ And I don’t give a fuck.” Those lines seem to sum­ma­rize the al­bum’s theme per­fectly and ef­fort­lessly. Superscope is about for­get­ting all your trou­bles and let­ting go of the black clouds that some­times in­vade our every­day lives. It’s mu­si­cal es­capism, a retro haven from the out­side world.

The al­bum then sur­prises with “Team Strong,” a coun­try bal­lad that begs a ro­man­tic set­ting, like hold­ing some­one tight in a smoky pub. I’ve never been a big fan of coun­try tunes, but the sweet melody and ad­ven­tur­ous lyrics are ir­re­sistible: “Put your face on and let’s go/ Don’t you know we can’t go wrong?” This song, as well as most of the other songs on the record, feels a bit too long, with sev­eral re­dun­dant and pale gui­tar so­los, fol­low­ing the re­cent an­noy­ing trend of six-minute songs—at the min­i­mum. Per­haps Tame Im­pala’s 2015 “Let It Hap­pen,” which con­sists of 7:55 min­utes of tum­bling gui­tar so­los, was an in­flu­ence on this re­dun­dant length. How­ever, de­spite some of its flaws, Superscope is a must for old-school Americana fans. RAT­ING:

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