à La Carte Records – Queen City Sounds and Art

Draag(Adrian Acosta (left) and Jessica Huang (right)), photo courtesy the artists

“Jalen Rose” originated in email and text conversations between Adrian Acosta and Jessica Huang of Draag during the pandemic lockdown of 2020 with a demo following in 2021. And now the song in its mature, properly recorded in the studio form is being released ahead of the debut LP from the project due out in late Spring of 2024 through á La Carte Records. Taking inspiration from late night walks through the Wan Chan neighborhood of Hong Kong, a locale that is both one of the busiest commercial districts in the city but also ample urban decay. Meaning it’s surely a place that has energy and a certain haunted quality to boot especially after the usual business hours of daytime. Musically the song is in the realm of dream pop but with more rich and textural guitar work mixed in with uplifting electronic melodies and beautifully ethereal vocals courtesy Huang, Acosta and Chelsey Holland. Acosta, Huang and Chris King, aka Kai Tak, of Cold Showers fame have crafted in this song a soundscape that is resonant with what Curve was doing in the early 90s and perfectly blending shoegaze tones and aesthetics with that of electronic music in a way you can easily get lost in for its just over three and a half minute duration complementing the vocals and buoying up their irresistibly transporting moods. Listen to “Jalen Rose” on Spotify and connect with Kai Tak at the links below.

Kai Tak on Instagram

Kai Tak on Bandcamp

Kai Tak on YouTube

don’t get lemon, photo by Anthony Flores

The second single from don’t get lemon’s album Hyper Hollow Heaven (out March 26, 2022 on à La Carte Records) has the rather dire title “D.I.E.I.N.T.H.E.U.S.A.” and the lyrics hit with the resigned nihilism born of an accurate assessment of where human civilization is trending. But the music is a special kind of lush, synth pop like bedroom production style Roxy Music or Crush-period Abe Vigoda. In the video Austin Curtis, the band’s singer, seems to party privately in the few creature comforts available in late capitalism before the utter collapse: oddly plentiful, Asian grocery items that seem like a cruel and surreal joke, karaoke night lighting and equipment, late night Vegas lounge aesthetic. This while the audio equivalent of VHS video fidelity and visuals to match has Curtis singing about basically being ready for the end of the world or at least the world as we know it and knowing that it’s kind of too late to do anything to stop it. One imagines if synth pop had existed in the fourth century Roman empire it would take on a tone like this between climate change, widespread political corruption and fiscal malfeasance, deep social divisions, international strife, pandemics and other crises that ended up rendering the most powerful economic and political entity the world had ever seen unable to rally to address the many built in ills that were contributing to its downfall. Many perceptive people had to have seen it coming and had there been a popular art form that survived we might have seen the ancient equivalent of a song like this born out of similar struggles, pressures and a sense that it’s all worse than a recession or political partisanship gone wild. This band personalizes the ambient anxiety of the time with a soothing song that commiserates with us a downer mood. But contained within it is the seed that we could turn this whole thing at least partly around but do you see anyone overthrowing the oligarchic power and economic structure in the next five to twenty years? Seems unlikely so while perhaps hoping and working for the best may as well enjoy some of the small joys of life before it’s completely over. Watch the video for “D.I.E.I.N.T.H.E.U.S.A.” on YouTube and connect with don’t get lemon at the links below.