As sure as if it had been mapped in the stars, or written in a prophecy buried deep beneath the sands of the Marfa desert, a collaboration between Cate Le Bon and Bradford Cox was always something of an inevitability.

Fourth in Mexican Summer’s Myths EP series (and following previous tie-ups between Dev Hynes and Connan Mockasin, Ariel Pink and Weyes Blood, and Dungen and Woods), Myths 004 sees Le Bon and Cox–each a much-revered musical innovator in their own right–finally united.

For both artists, Myths 004 signals a change of tack: meticulousness thrown to the wind as spontaneous, jammy tales of firemen and 5p plastic bags, unbrushed hair and shoelessness and makeup-daubed landscapes–all miraculously written and recorded in just one week– roll effortlessly off their cuffs.

Though this EP materialises after two individual 2019 album campaigns–Le Bon’s Mercurynominated fifth album Reward, and Cox’s eighth with his band Deerhunter, Why Hasn’t Everything Already Disappeared? (which Le Bon co-produced)–the chronologies are tangled: Myths 004 is in fact a snapshot of the pair’s very first meeting. After years of admiring each other’s work from afar, Cox and Le Bon finally converged on Marfa, Texas in 2018, at Mexican Summer’s annual Marfa Myths music, visual art, and film festival.

“Marfa is an extraordinary town,” says Le Bon. “It feels like nothing else exists when you’re in it which is both comforting and unnerving.” In this otherworldly enclave, and with a band of frequent Cate Le Bon co-conspirators on hand to putty the gaps with drums, saxophone, percussion, keys, and additional guitar (Stella Mozgawa of Warpaint, Stephen Black of Sweet Baboo, and Samur Khouja), the EP was assembled whiplash-quick.

“Writing and recording in a week is a tall order - especially when such chemistry exists between all the musicians involved, and the possibilities are boundless,” Le Bon explains. “We committed ourselves to embracing the chaos, surrendering to all moments and moods that travelled through. It’s a crude holiday scrapbook shared by all involved, an amalgamation of the changes in mood and light that shaped the days.”

Indeed, Myths 004 is wondrous in its variety. On the opening song “Canto!”, Cox dons the illfitting leathers of an ageing biker and urges us to come ride with him, baby. He and Le Bon gaze into one another’s eyes with semi-serious sweetness as tough, wiry guitars stab through the romance.

Everything shrinks and softens on the EP’s sole single, the gently melancholic “Secretary,” as Le Bon and Cox spout verse over a mysterious percussive rhythm; perhaps made by miniature cymbals from a mantric parade, perhaps by someone rummaging in the cutlery drawer. Together, they combat the office humdrum of filing, answering the phone, and eating “the same old plastic lunch” with a surreal and beautiful daydream of “mascara brushed across the plains / all of the phone calls you made disconnected.”

Most freeform are the short instrumental interludes–the garage-y, hammily menacing “Companions in Misfortune,” could easily soundtrack a gang sauntering down an alleyway, whilst “Jericho” emulateMost freeform are the short instrumental interludes–the garage-y, hammily menacing “Companions in Misfortune,” could easily soundtrack a gang sauntering down an alleyway, whilst “Jericho” emulates a dog and a brass band falling down the stairs (with jazzy panache, thank you very much).

“Fireman” sees Le Bon and Cox cast themselves as postulating heroes, as in a flash of tongue-in-cheek, lyrical-comic wordplay, Cate sings “I am a fireman / putting out fires, man” and Bradford, in a low faux-macho drawl, rambles immodestly in the background about his fire-extinguishing prowess.

And final track “What Is She Wearing,” drips with cynicism, wit, and parody punk spirit as Le Bon lists universally relatable and not-so-nice, day-to-day shit: having to take the bins out, stepping in chewing gum, taking your jumper off when you’re wearing an ugly t-shirt underneath, finding dirt on the fork at a fancy restaurant, going to the supermarket and paying five pence for a plastic bag you don’t want. It wouldn’t be hard to believe that John Cale is sawing his bow across an electric guitar somewhere in the background as Le Bon lippily gripes: “I’m walking to get myself a croissant from the bakery / and everybody is looking at me as if I have committed a crime.”

But for all their twists and turns, Myths 004’s seven tracks sit perfectly alongside one another - each sounding simultaneously like a Bradford Cox song, and like a Cate Le Bon song. In the true spirit of collaboration, a feeling of sheer joy prevails, uniting the EP’s every shape, character, prang, plod and playful bite.

TRACK LISTING

SIDE A
1. Canto!
2. Secretary
3. Companions In Misfortune
4. Constance

SIDE B
1. Fireman
2. Jericho
3. What Is She Wearing

It was on a mountainside in Cumbria that the first whispers of Cate Le Bon’s fifth studio album poked their buds above the earth. “There’s a strange romanticism to going a little bit crazy and playing the piano to yourself and singing into the night,” she says, recounting the year living solitarily in the Lake District which gave way to Reward. By day, ever the polymath, Le Bon painstakingly learnt to make solid wood tables, stools and chairs from scratch; by night she looked to a second-hand Meers - the first piano she had ever owned - for company, “windows closed to absolutely everyone”, and accidentally poured her heart out. The result is an album every bit as stylistically varied, surrealistically-inclined and tactile as those in the enduring outsider’s back catalogue, but one that is also intensely introspective and profound; her most personal to date.

This sense of privacy maintained throughout is helped by the various landscapes within which Reward took shape: Stinson Beach, LA, and Brooklyn via Cardiff and The Lakes. Recording at Panoramic House [Stinson Beach, CA], a residential studio on a mountain overlooking the ocean, afforded Le Bon the ability to preserve the remoteness she had captured during the writing of Reward in Staveley, Lake District.

Over this extended period a cast of trusted and loved musicians joined Le Bon, Khouja and fellow co-producer Josiah Steinbrick - Stella Mozgawa (of Warpaint) on drums and percussion; Stephen Black (aka Sweet Baboo) on bass and saxophone and longtime collaborators Huw Evans (aka H.Hawkline) and Josh Klinghoffer on guitars - and were added to the album, “one by one, one on one”. The fact that these collaborators have appeared variously on Le Bon’s previous outputs no doubt goes some way to aid the preservation of a signature sound despite a relatively drastic change in approach.

Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum, Cate Le Bon’s solo work - and indeed also her production work, such as that carried out on recent Deerhunter album Why Hasn’t Everything Already Disappeared? (4AD, January 2019) - has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.

The multifaceted nature of Le Bon’s art - its ability to take on multiple meanings and hold motivations which are not immediately obvious - is evident right down to the album’s very name. “People hear the word ‘reward’ and they think that it’s a positive word” says Le Bon, “and to me it’s quite a sinister word in that it depends on the relationship between the giver and the receiver. I feel like it’s really indicative of the times we’re living in where words are used as slogans, and everything is slowly losing its meaning.” The record, then, signals a scrambling to hold onto meaning; it is a warning against lazy comparisons and face values. It is a sentiment nicely summed up by the furniture-making musician as she advises: “Always keep your hand behind the chisel.”

STAFF COMMENTS

says: Cate Le Bon’s fifth album came together during a period of self imposed solitude in the Lake District. Retreating from L.A. to a mountainside in Cumbria, she spent a year building wooden furniture and penning songs into the night. While writing an album in the woods may sound like a bit of an old singer-songwriter cliché, Le Bon’s offering is far from the soppy acoustic balladry you might expect. Instead, she has produced an album of delightfully unhinged art-pop which reveals the curiosities of her inner world.
‘Reward’ retains the off-kilter whimsy which is characteristic of Le Bon’s ever expanding back catalogue. She expertly toes the line between heartfelt sincerity and playful absurdity, maintaining an edge to her songwriting which keeps it from sounding twee. Some of her vocal melodies alone would feel at home in a more conventional pop album, but the instrumentation elevates it to outsider status - discordant stings of electric guitar, metallic synths and an anxious ticking always lurking in the background.
The slow, stately opener “Miami” builds through a rising dialogue between the vocals, horns and synth which eventually disappears into thin air. Le Bon then takes us on a soft rock jaunt permeated by a sense of distance and longing: “Love you, I love you, but you’re not here”. “Mother’s Mother’s Magazines” spirals into nervy post punk territory, with each instrument locked into a mechanical groove which rolls forwards like a steam train. But it’s the final song “Meet The Man” which shines the brightest lyrically and melodically, ending the album with a heartwarming resolution: “Love is good, love is ancient to me, love is you, love is beautiful to me”.

TRACK LISTING

SIDE A
1. Miami
2. Daylight Matters
3. Home To You
4. Mother's Mother's Magazines
5. Here It Comes Again

SIDE B
1. Sad Nudes
2. The Light
3. Magnificent Gestures
4. You Don't Love Me
5. Meet The Man

Cate Le Bon releases her fourth album Crab Day via Turnstile on LP, CD. Recorded at Panoramic House studio, West Marin, California last spring, Crab Day was produced by Noah Georgson and Josiah Steinbrick.

According to Cate: “Crab Day was lovingly formed in the mouth of the Pacific Ocean, as it quietly mocked us with its magnitude. It’s the sound of the ‘accidentally on purpose’ coming together of the right people at precisely the right time in an environment that furnished and fuelled the abandonment we felt effortlessly. It’s a coalition of inescapable feelings and fabricated nonsense, each propping the other up.Crab Day is an old holiday. Crab Day is a new holiday. Crab Day isn’t a holiday at all.”