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Let’s face it: There’s no such thing as “real life”. There is only experience and the negotiations we undertake in order to share it with other people. On her second album Blue Raspberry, the New York-based songwriter Katy Kirby dives headlong into the artifice of intimacy: the glitter smeared across eyelid creases, the smiles switched on with an electric buzz, the synthetic rose scent all over someone who’s made herself smell nice just for you. An exegesis of Kirby’s first queer relationship, Blue Raspberry traces the crescendo and collapse of new love, savoring each gleaming shard of rock candy and broken glass along the way.
Originally from Spicewood, Texas, Kirby was living in Nashville when she started writing Blue Raspberry’s title track, the first of the album’s songs to take shape. “‘Blue Raspberry’ is the oldest song on the record. I began to write it a month or so before I realized, I think I’m queer,” she says. “There’s a tradition of yearning in country love songs. I like the male yearning songs better, usually. I started writing ‘Blue Raspberry,’ and I was thinking about, if I was in love with a woman, what would I love about her? Especially if she was someone that I couldn’t touch, but that I was pining for. What would I be caught on? And I thought that I would probably be particularly charmed by the choices she made on how to look after she woke up in the morning. I thought about tackiness, and the ways that’s a dirty word. That’s where the title comes from — loving someone for those choices, for the artificiality.”
Blue Raspberry follows Kirby’s acclaimed debut album Cool Dry Place, which was also recorded in Nashville and released in February of 2021. While the songs on that record unfold amidst Kirby finding her voice, Blue Raspberry is a polished and confident sophomore effort that deepens the questions that bubbled through Cool Dry Place about how people can reach each other despite all the hazard zones where human connection caves in.
“I Keep My Feet on the Fragile Plane” – Allegra Krieger’s fourth record and her first with Double Double Whammy – is her most mature and alluring work yet. It contains all the signatures of her best lyricism: delicate and precise phrasings, moments that flicker between beauty and banality, meaning that forms through the accretion of observations, memories, and unexpected adages. This is an album that is at once post-theistic and devoted to a relationship with the divine, each song blinking in and out of “the fragile plane,” a place Krieger describes as “a middle ground in the universe,” both abstract and peaceful, where time, bodies, and names don’t exist.