I love the way that Madeline Rosene can deftly walks both side of the tracks simultaneously. Numb saw her wandering between the heady highs of stardom and the hidden lows of the isolation that it brings, here she does a similarly sure-footed dance between sanity and the breaking point just beyond. Again it is all about perception. Numb showed us the reality of what might lurk below the public perception of celebrity, here the pendulum swings between conformity and freedom, between perceived insanity and the real story, between what we choose to show the world and what is actually going on in our own mind.

And musically she walks a similarly fine line between a sort of alt-pop accessibility and a brooding, dark and emotive undercurrent, all raw edge and unresolved tension, a pop powder keg about to explode. 

As always she deals with the transience and short attention span of the modern consumer, how everything is about fleeting, brief encounters from which fast, first and perhaps singular impressions are formed, half aware that such impressions are the result of PR companies, demographics and market research and not caring anyway. This is the world of hyper-reality, of mass-mind control even, of the quick hit and the fast buck, the world of Ballard and Baudrillard but whilst most people are happy to be consumed by it on their way to fame and fortune, at least Madeline Rosene is smart enough to sonically surf its murky waters, examine it, understand it and defeat it by turning it into song.

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Musician, scribbler, historian, gnostic, seeker of enlightenment, asker of the wrong questions, delver into the lost archives, fugitive from the law of averages, blogger, quantum spanner, left footed traveller, music journalist, zenarchist, freelance writer, reviewer and gemini. People have woken up to worse.


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