Pennan Brae

Pennan Brae – 2 Under 0

It is the NYC of CBGB; there’s glamour within the grit, a continuous patchwork of street-level camcorder pictures of New York Metropolis again within the days earlier than Disneyfication.

VANCOUVER, BC, CANADA, June 25, 2020 / — Watch “Pay Filth” by Pennan Brae on B-Sides & Badlands

Pennan Brae is the type of artist who can mine virtually something, chip away at it, and polish it into an ideal radio rock tune. Album after album, the singer, songwriter, guitarist, and filmmaker has turned humor, nostalgia, ache, and pleasure into sensible, intense pop-rock and plush, epic piano-driven ballads. He is steeped in basic American rock and blues storytellers like Elton John, Muddy Waters, BB King & Elmore James. Medium calls his work the “heady, distinctive, and tantalizing sound of the ’80s,” with Pennan himself described because the type of rocker who “travels again in time but stays unmistakably modern.” His massive, shiny rock songs, constructed on three or 4 chords, are classically timeless.

Frustration is the mom of rock- not intercourse, not disappointment, not happiness, not love. The Rolling Stones put it greatest once they declared, “you possibly can’t all the time get what you need” and “I am unable to get no satisfaction.” And is not that why everybody picks up a guitar? Pennan Brae was actually feeling annoyed on a couple of ranges when he put pen to paper, and decide to string, for what would grow to be “Pay Filth.” It is uncooked proto-punk guitar propulsion, with stop-start verses, glory notice leads, and a kick-and-cowbell intro that grabs you by the lapels and calls for you pogo alongside. There’s extra pent-up vitality, extra rigidity and launch, in Brae’s restrained, tuneful vocals than in any unhinged howl, and he sings in pressing lockstep with the monitor’s bare-bones, lo-fi riffing.

The video for “Pay Filth” is each bit as relentless and charged because the monitor, a continuous patchwork of street-level camcorder pictures of New York Metropolis again within the days earlier than Disneyfication. Director Rob Fitzgerald went for “shiny lights meet vandalism, which summed up every thing about NYC within the 70s and 80s.” It is virtually feverish and romantic in how decidedly un-romantic it’s: hurried crowds jockeying for sidewalk actual property, subways automobiles lined entrance to again in big tags and gang graffiti, retina-searing Instances Sq. neon, and tenement fires that have been as commonplace as getting robbed. It is the NYC of CBGB; there’s glamour in all that grit. The lyrics splash throughout the display in throwback bubble fonts as if sprayed by hooky-playing teenagers who’ve already ditched their paint cans and hopped the turnstiles.

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