The easy read on pop music in its various permutations — retro-pop, indiepop, dream pop, poised-to-go-Spotify-viral pop — is that it’s disposable. Full of nonspecific sentiment, superficial and pandering; a bad suggestion that feelings are more important than everything else we need to worry about in the world right now.
Philly’s Queen of Jeans offers a rebuttal to that take in a few ways. First, their sneaky use of tried-and-true 50s arrangements, melodies, and song structures to critically comment the latent (or overt) misoginy of music that American society teaches us is canonical. Songs deemed “classic” by older generations that actually advocated a kind of unhealthy idea of what love is and what it should be; ideas that still, unfortunately, persist in music today.
In that spirit, Queen of Jeans closed its album release party at Underground Arts last night with a rousing bit of meta-pop, “U R My Guy,” where Shangri-La’s style trio vocals are employed, but instead of fawning over some busted dude, they’re putting him in his place: “your fame is borderline” goes one lyric from band leader Miriam Devora, followed later by the backing chant “he’s so fragile when he belongs to me” care of guitarist Matheson Glass and bassist Nina Scotto. Continue reading →