I know it’s my job to be as objective as possible and be critical where necessary, but with Post Coal Prom Queen, that continues to prove a difficult task. The duo just have an extraordinary talent for evolving their content all the time in a way that no other Scottish act can possibly match; the concept album Music For Hypercapitalists is no exception.
We’re regaled with a series of surreally out-of-this-world tracks blending the band’s signature electronic dream-pop sound with that of the styles of the various collaborating hip hop artists’ efforts, each separated by satirical interluding pieces which are both humorous and unsettling.
In Familiar Foreword, Jackal Trades takes a hefty stab at how capitalism is breaking the human race and the planet as a whole to pieces, Texture in the pulsing Fractured Prism similarly echoes the hardships of merely living in the modern world, and Conscious Route leads the effectively penetrant cut Dragon’s Jaw, standing up to the war against, among other things, the creative arts.
Puddles Of Mercury is the most artistic and freakish of the lot, headed by Somnia’s insanely colourful performance, Empress conveys the strife of negative mental mind games in Nefertem Flex, and the last of the collection The Horrible Odyssey lives up to its namesake with its dark and warped atmosphere which is the ideal backdrop to the sharp words of Miles Better.
Yet another phenomenal, awe-inspiring and scarily relevant record from Lily, Gordon and the variety of excellent people who hitched along for the ride which is highly successful in its dive into the experimental rabbit hole.
Again, it has to be said that Post Coal Prom Queen are the Scottish scene leaders in terms of a unique, forever-changing and majorly provoking output that is on another level entirely.