I’ve written about Kill The Intellectuals before. Twice, actually. I’ve gone on about the prolific nature of Angela-Grace Foster as a songwriter. I’ve rambled on about genre tags and other music classification bullshit. I don’t really need to say too much more along those lines.
The thing that strikes me most about Kill The Intellectuals is that it’s an ongoing project made by someone who is basically still a kid. I know that sounds shitty and dismissive, but I don’t mean it that way. It’s actually one of Foster’s biggest strengths. They haven’t fallen into the trappings that older musicians have. The songs don’t have some jaded subtext. The lyrics are honest in a way that most musicians aren’t. It’s rare to find anyone who is so open in their songwriting. And it’s even rarer to find a musician with such a defined voice at such a young age.
Anyway, let’s talk about the record. All This Time I Was Writing An Album And I Thought I Was Just Living My Life fits very well in the overall oeuvre that is Kill The Intellectuals. Mixing the straight forward folk with the spoken word and experimental sounds, it is a really great representation of what they’ve been doing up to this point. It’s still a lo-fi, bedroom recording type record. It’s the little touches though. The overdubbed vocals on “Vacant Rooms” make for a really great sounding harmony. “Love Is The New Ibuprofen And I Am Hooked” is bookended with backmasking and spoken word. The two “Love vs Anxiety” songs show how a strong voice can carry otherwise simple and straightforward folk songs.
My opinion on Kill The Intellectuals is pretty simple. I’m always excited to hear something new things, and I hope to keep hearing more for a long time to come.
Kill The Intellectuals
I wrote about Kill The Intellectuals back in October. That I’m doing so again already speaks to the prolific nature of Angela-Grace Foster as a songwriter. Foster’s output in 2014 averaged to about a song a week. 51 songs across four releases. It’s remarkable that anyone can have that much material in such a short span of time. It’s even more remarkable that the quality doesn’t waver.
Something About A New Exciting Future Called Promising Untold Happiness is a much different kind of release than I Hope You Die Painlessly – With Laugh Lines And Wrinkles Around Your Eyes was. The main difference is in the overall aesthetic. It’s still lo-fi. It still has some echo and reverb in places. It just doesn’t have the same abrasive and aggressive tone. The electronic samples and sound collage influences don’t really appear either. It’s a much more straight forward type of record.
Something About A New Exciting Future Called Promising Untold Happiness lives and dies as a lo-fi, folk record. It, like it’s predecessor, is a great example of the bedroom/home recording thing. The songs are very raw sounding. They’re built around vocals and guitars. That doesn’t sound like much on paper, but it’s really important. The simpler the structure, the more strengths and weaknesses stand out. Songwriting deficiencies are easier to spot, and a concept can wear thin.
Foster doesn’t fall into these holes though. The songwriting is engaging. Every song plays a part in the overall story, and everything feels personal and open. It’s a style of writing that doesn’t work for everyone. This level of honesty and bluntness could come across as cheesy if done wrong. What I’m saying is that delivery matters, and everything is delivered perfectly. These songs are all specific to certain situations, but they manage to transcend that. “Anoxemia” is a song that, while being about a specific person doing a specific thing, comes across as a universal. To me it feels like a song about growing and trying to reconcile the past. That is a theme that gets covered a lot. It’s there in “Future Letter To My Past Present Self.” It’s there in “Another Needle Stuck In The Carpet.”
The experimental aspects that showed up on I Hope You Die Painlessly – With Laugh Lines And Wrinkles Around Your Eyes might have fallen by the wayside on this release, but the honesty and openness remain. And that is the kind of shit that matters.
Kill The Intellectuals
Tyburn Woods Collective
Kill The Intellectuals is a project that lives in the margins. It would easily to classify as lo-fi folk music. It’s would also be easy to classify as bedroom music. Indie, folk punk, whatever. It’s not important. I don’t want to spend a lot of time classifying. Because, like any other piece of art, it should be about substance over style. It’s about how genuine it is. Sincerity goes a long way. Genre, production costs, and any other bullshit trappings don’t. What matters most is the heart and soul. Angela-Grace Foster, as Kill The Intellectuals, has made a record that is entirely heart and soul.
I Hope You Die Painlessly – With Laugh Lines And Wrinkles Around Your Eyes is a record that defies classification. It can be delicate and frail, it can be loud and abrasive. The vocals can range anywhere from singing to yelling to spoken word. The music can go from voice and acoustic guitar to voice over electronic samples and sound collage aesthetics. Songs like “Car Collisions” are built around acoustic guitar and electronic samples. “Fucking Up Yur Spine For Fun” is just static and speech. It’s a record that is emotional and disjointed in a lot of ways.
Overall, it seems to be a general portrait of the artist. Reflections on death and god. It is a record where you are completely exposed to someones entire psyche. It’s not an easy record. It’s not a background noise record. It is a record that demands your attention.
The guitar clips, there is a sustained tape hiss throughout, the vocals turn around on you at the drop of a hat. It’s so fucking hard to explain, but it’s also one of the purest records I’ve heard in a long time. Please, do yourself a favor, give it a listen. This is one of the most engaging 35 minutes of music I’ve heard this year.
Kill The Intellectuals