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Editors’ Notes

Fans of Parenthetical Girls who also happen to be guitar devotees may enjoy Privilege more than 2008's orchestral Entanglements. Featuring a series of previously released EPs spanning 2010—2012, this album displays a range of sounds and moods, including emotional bleeding set to dance floor beats à la The Smiths ("Careful Who You Dance With," "A Note to Self"), staggering jangle-inflected rock ("Evelyn McHale"), and guitar- and synth-stabbing aggression ("Young Throats"). Zac Pennington's intense, swooning delivery on many of his tales of sex-positive explorations and damaged psyches ("For All the Final Girls," "Weaknesses") is enough to make you seek out a sunset with a journal and earbuds in hand, and his take on '80s synth balladry ("Curtains") is simply sentimental and nostalgic, in a good way. As in the songs of Xiu Xiu and Rufus Wainwright, Pennington's lyrics are erudite and literate, full of poetry. Boys who grow "into embarrassments of men," visions of "hallowed hips" and "equine thighs," or "welts that swell up, plate-sized" are drawn in sometimes unsettling portraits of unsettled inner lives.

Customer Reviews

bad music

if this is the state of indie rock may jesus christo save us all

Biography

Formed: 2002 in Everett, WA

Genre: Alternative

Years Active: '00s, '10s

A group that has cautiously moved from the bedroom recording studio to the stage, Parenthetical Girls began as an amateur recording project by two longtime friends, rock writer Zac Pennington and part-time musician Jeremy Cooper. Indulging in a shared fondness for British post-punk, Brian Eno, and Phil Spector, the two began creating eccentric but playful indie rock tunes in 2002 on a lo-fi eight-track recording setup dominated by glockenspiel, a cheap synthesizer, and a guitar that refused to stay...
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Privilege, Parenthetical Girls
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