[Music] Shamir – Ratchet (review)

shamir1

Available to buy on iTunes

Review: From the mood board experimentalism of last year’s Northtown EP to the streetwise techno-house of his debut album Ratchet, the sheer consistency of Shamir Bailey’s output has launched the metaphorical ball squarely into the court of the public. Throw the twenty year old North Las Vegas native’s utopian persona and vibrant aesthetic into the equation and it becomes clear that the level of success Shamir achieves this era will be less dependent on the quality of his work than the willingness of the world at large to embrace a post-gender popstar.

Just as Shamir eschews the partitions that define gender and sexuality, Ratchet regularly blurs the line between consistency and repetitiveness. Over the course of ten tracks, Shamir and sensei Nick Sylvester, founder of New York-based label GODMODE, draw a fizzy bath of punchy but putty-like synth, recurring splashes of rattling cow bell and the singer’s own raw and androgynous timbre.

Cartoonish first single “On the Regular” marches steadfastly to the beat of its kick drum, even as an acidic storm of klaxons descends to offset the cuddly nuances of Shamir’s enjoyably cocky verse-spitting. The sauntering bassline of album highlight “In For the Kill” is accompanied by a whistling saxophone to hit a heady sweet spot, while “Make a Scene” spruces up the blasts of abrasive bleeps and nonchalant speak-singing of Northtown cut “If It Wasn’t True” to craft a laudable mission statement: “We’ve given up on all our dreams / So why not go out and make a scene?”

Only a fool would have bet against the presence of such playlist-friendly delicacies on Shamir’s debut LP, but Ratchet also flows disarmingly well as a cohesive aural narrative. Both the slow-cook opener “Vegas” and compassionate electro-ballad “Demon” peel layers off a character prone to confused and occasionally detrimental infatuations, be it with a hometown (“If you’re living in the city, are you already in hell?”), or a caustically codependent romance (“If I’m a demon, baby you’re the beast that made me / Falling from grace / but falling oh-so-gracefully”).

A video for second single “Call It Off” produced for the YouTube Music Awards introduced Shamir to a wider audience as a puppet avatar, a visual artifice typically favoured by pop’s less charismatic ciphers. It comes as a relief, then, that Ratchet’s apparent raison d’être is to communicate the opposite principle. Shamir is not merely the Tumblr-ordained poster boy for pansexuality, but the fully-formed protagonist of his own rainbow-hued movie. Whether or not the general public will join him on in his adventures should be of no concern for now. Shamir represents the future of pop music, and perhaps our responsibility as a society is simply to catch up with him.

10/10

[Music] Shamir – Northtown EP (review)

shamir

Available to buy from iTunes

Review: A pseudo-harpsichord strain lands with an authoritative thud; its echoing presence still felt even when followed by successive stabs. A kick drum soon underscores a light, trembling squall: “You came without warning.”

The same cannot be said for Las Vegas-born teenager Shamir Bailey, whose sweet, affable features have been smeared across the pages of any alt music blog worth its salt since his icy house cocktail “If It Wasn’t True” gained traction this February. The sugar-coated apathy that won “True” its buzz is nowhere to be found on “I Know It’s A Good Thing”, a gospel-drenched ballad prone to lyrical regurgitation; once over a stark, church atrium-like soundscape, and again over a euphoric build powered by handclaps and a captivating vocal.

The swerve in tone is almost disorientating. The cloudy pessimism of lines such as “I would say I’m happy, but they say talk is cheap” take on a whole new significance in the celestial light Shamir recasts them in. It’s a revelatory song, one that could just as easily be synced with a bride and groom’s first dance as it could with an Apple campaign (or, indeed, a runway show at Paris Fashion Week), and engages just enough with the house music trend to feel current, but also marks out the long-term versatility of the artist behind it.

Elsewhere on the Northtown E.P., Shamir asserts his dance credentials on the still-brilliant “If It Wasn’t True” and “Sometimes A Man”, which attempts to mix its predecessor’s dispassionate throb with kitchen-sink production tricks. Sirens, growling vocal hooks, and crisp synth breakdowns all fight to make up for the track’s unflappable lack of melody, but it still carries a dark and compelling mystique.

The ballads rounding off the package – the sparse “I Will Never Be Able To Love”, a faithful cover of Lindi Ortega’s “Lived And Died Alone” – give weight to the hedonistic bent of the dance cuts. But as admirable as his abstinence from all things romance is, that final hopeful minute of “I Know It’s A Good Thing” will always beg to differ – at least until his first full-length arrives to add further dimensions to this fascinating character.

9.0/10

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