Luke first came to light, comparisons were made to cases of pop stars of the past like Tina Turner and Ronnie Spektor. It’s also emblematic of a longstanding problem with prominent women in the music industry: Is it possible to support talented female artists without inadvertently supporting the abusive men behind-the-scenes? Photo by Bob & Nadya Gruen However, it’s still worth being discussed. Luke’s work with indie darling Petras has flown under the radar. With the industry’s methods of dealing with internal abusers still in its infancy, it’s understandable how Dr. Nicki Minaj recently collaborated with an accused pedophile to make a song that reached number 3 on the Billboard Hot 100. Additionally, rapper XXXTentacion continues to see postmortem success despite abuse allegations. In the year since the #MeToo movement began, the campaign has barely brushed the music industry. Placating statements like, “I respect them both and…whatever will happen will happen,” shows where she really stands. When called out for working with Gottwald, she typically tries to take two approaches: both the feminist way and the ‘I’m gonna keep working with him though’ way, despite the fact that both of these standpoints on this issue are mutually exclusive. Petras, meanwhile, has done little to adequately address her fans’ discomfort with the association. Consider this the musical equivalent of forcing unsuspecting comedy club audiences to watch your surprise sets, or sneakily shooting your new film in two countries known for their denunciation of the #MeToo movement. Since her debut, Gottwald has been mentoring, writing, and producing for Petras, even after all of the allegations against him were publicized. Just three years after Kesha sued him to void their contract due to alleged verbal, sexual, and physical abuse, Dr. credits) of every song on the EP: Lukasz Gottwald, otherwise known as Dr. Rather, it’s what lurks in the dark (i.e. My problem with Petras doesn’t lie in her image or work. I have an issue with the convenient amnesia our culture seems to have in regards to artists who are uncovered to be abusers. As dark as the project is, the realities surrounding it are much bleaker. With the spooky twist on her typical bubblegum output, it sounds like the soundtrack to a Halloween party thrown in the Barbie Dreamhouse. Similar to everything released by Petras in the past, the project is maximalist-pop perfection which is so playfully feminine that you can practically hear the hot pink. In fact half the tracks here are instrumental, which is a shame because Petras is such a compelling presence.On the first of October this year, Kim Petras released her horror-themed debut EP, TURN OFF THE LIGHT, VOL. They share that same gothic sensibility, that same finesse with bass lines. On ‘In The Next Life’ her voice becomes demonic, not least when she switches to her native German.īetween the bangers there’s a number of instrumental tracks, that at their best come off like slick Justice productions. Petras’ voice is not creepy, she’s a very effective pop vocalist, but her willingness to play with autotune and effects means it can be made to be. This slightly sinister quality is woven expertly into the Petras’ pop bangers, the 80s synths that drive ‘Close Your Eyes’ are as unsettling as they are danceable. The spookiness starts at the very top, ‘o m e n’ uses a John Carpenter-y progression to set the mood. You see, these eight tracks are interested in one thing and one thing only, Halloween. 1’ is Petras’ 2018 mixtape, and is a bite size, and pleasingly thematic introduction to her world. But here we are, and now I’m letting you in on the secret. It’s weird being aware of someone who will almost certainly become massive, but isn’t quite yet. Kim Petras is a German pop star in waiting. Listen up you old folk, I’m going to tell you about a musician the kids are listening to. Why is it taking so long for my vinyl to arrive?.How to be a more environmentally-friendly vinyl collector.New Music Friday: the top releases this week.
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