By Keith Walsh
“Requiem,” the opening track of Perry Blake’s new album Death Of A Society Girl, sets the tone for an album of contemplative moods and bittersweet exultations. Like David Bowie, to whom he is often compared, Blake is perhaps too closely acquainted with sadness, while finding value in working through it musically. On a purely electronic album, there’s lots of synthetic drum sounds, beautiful deep bass, lovely piano figures, glistening strings and arpeggios, and Blake’s sweetly melancholy voice. Lyrically and melodically, Death Of A Society Girl is reflective and occasionally solemn, an album of meditations on what it means to grow through tragedy.
The second track, “One Of These Days” is a meditation on the solemnity that accompanies the long wait for redemptive love. The pulsing drum beats and bass are particularly satisfying on this one. Throughout the album, there’s remnants of Blake’s influences, from minimalist trip hop such as Massive Attack or the melancholy pop of Gary Numan, that were evident on his self-titled debut on Polydor in 1998, though Blake’s instrumentations and vocals carry an emotive warmth not always present in those artists. For example, the string arrangements by Blake’s longtime collaborator Graham Murphy bring transcendent beauty.
“If there’s love. yeah I’ll take it/on the chance to lose/If there’s love, yes I’ll take it/it’s up to you.” ‘One Of These Days’ from Perry Blake’s ‘Death Of A Society Girl’
The third track, “Nobody’s Child” features middle eastern instrumentation, appropriately enough for a song lamenting the sorrows of ostracization that are too readily found in stone age tales from that region. “Song Of The Wind” features deep droning bass, strings, sharp electronic drums and acoustic guitar interludes. As a ballad it relies on just a couple chords, depending mainly on tonal atmosphere for its appeal.
“Let’s Fall In Love” has more drones and glitches, and an ascending chord pattern that matches the theme. And despite some similarities to Bowie of the mid 70s as well as goth music, Perry is lyrically accepting and acknowledging the presence of redemptive love rather than drowning in the layers of darkness that comprise the sonic background.
On “Concertina,” for example, Blake gives a profession of faith despite the strange affectation of his vocal style that leans into goth territory here.
“I believe everything in life happens for a reason/I believe everything was changed/changing like the seasons.” Concertina, from Perry Blake’s ‘Death Of A Society Girl.’
“Rules Of Love” is in a minor key, underscoring the seriousness of a topic that some might take too lightly. There’s some incredible riffing on a middle east stringed instrument again. The title track “Death Of A Society Girl” is heartbreakingly desirous. “Hummingbirds” is glitchy and lo-fi, and then a delicate, dancing synth bell melody comes in. Blake’s story is about cultivating calm and self awareness through reflecting on the past in a journal.
“Write a letter to yourself/never open up/you must never tell a soul/about the things that only we should know/there was never time to dream/but we were happy then or so it seems.” Hummingbirds, From Blake Perry’s “Death Of A Society Girl.’
Death Of A Society Girl is produced by Perry and his longtime collaborator Graham Murphy, who delivers those aforementioned stunning string arrangements and performances on bass guitar, as well as keyboards, and acoustic and electric guitars. It’s an album of darkness and light, where tragedy and minor keys are offset by an ambient vibe and a cautiously optimistic point of view, where hope is cultivated slowly and patiently within the artist’s open mind.
Death Of A Society Girl is out June 21 on Moochin’ About Records. It was engineered and mixed by Perry Blake and Graham Murphy at The Production Suite Dublin.
Featured portrait by Sid Rainey. Album artwork by Helen Abbas and Jason Lee Lazell.
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