Looking over the track-listing of the upcoming Bright Light Bright Light album “Fun City” sent over to me recently. My eyes grew, wide, with happiness when glancing at the names listed as involved with the release. On paper, I’ll admit at being most curious of the track “Good At Goodbyes” Rod’s collaboration with Erasure’s Andy Bell. To be honest, since being three tracks deep into the album campaign, I really cannot place a bet on any, one track, being an outright favourite. There are collaborators on “Fun City” who we all know and love already. When I see a name mentioned I haven’t seen before, I am instantly intrigued, because I enjoy discovering new bands above all else. I noticed Caveboy feature with Bright Light Bright Light for the track “It’s Alright, it’s OK” and my first thoughts, ran to, who are they?
The Montreal indie-pop trio Caveboy is Rod’s favourite new music discovery this year. Strangely enough, the Babydaddy (of Scissor Sisters) co-penned track “It’s Alright”, It’s OK” where the trio appears, has struck a chord with me the most out of what has been revealed of “Fun City” to date. As an anthem, the musicality is bold, the lyrics particularly, cut to the chase in this instance. “Channels the LGBTQ+ community’s, ongoing quest for societal respect, equality and self-identity, while being sonically inspired by the small queer clubs in London.” The press release informs.
I wouldn’t expect anything less of Rod than to use his voice through music to speak about topics concerning identity and inclusivity. “It’s Alright, It’s Ok” speaks truth in a no-nonsense way. “Did you come as a boy or a girl? or come as yourself even better.” There is little doubt as to what statements are being made here. The fight to free oneself from being put into a box. Rod, further, shares, “the song title obviously nods to Whitney Houston’s, “It’s Not Right But It’s Okay” (specifically the Thunderpuss remix).” Truly, amazing.
What I want to know is, did Rod manage to get his hands on a Korg owned by Chris Lowe or something? There is also a definite nod to the Pet Shop Boys within the musicality of this one – I hear those clashing stabs borrowed from PSB’s “It’s a Sin.”
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