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MADELINE KENNEY

Madeline Kenney

Perfect Shapes

    “Building from understated beauty to dense guitar theatrics. It reminds me of Chicago circa ’93 as remembered in a dream — a little bit of Liz Phair 'Exile In Guyville' - rendered in soft-focus with the graceful confidence of a young master. “ STEREOGUM.

    In January of 2018, five months after the release of her debut album Night Night at the First Landing, Madeline Kenney traveled from Oakland, California to the woods outside of Durham, North Carolina to record her sophomore album with a new collaborator, Wye Oak’s Jenn Wasner.

    The choice was a conscious decision to explore new methodology in writing, recording, production and even genre. Perfect Shapes sees Kenney leaping headfirst into fresh and adventurous territory, largely eschewing conventional rock structures in favor of theme and melody. Its ten songs are full of surprises big and small - from vibrant synth lines to taut bass figures and subtly modulated vocals - that instead of feeling fussed over, reveal Kenney’s penchant for elegant and abstract composition.

    Kenney’s 2017 debut, Night Night at the First Landing, was a guitar-centric rock album, produced by friend and collaborator Chaz Bear of Toro Y Moi, Perfect Shapes leans on the foundational pieces of Night Night - fuzzed-out guitar tones, coy wordplay and Kenney’s notably strong voice - but with an unconventional approach that allows them to bloom, reincarnated. Perfect Shapes marks Wasner’s first foray into producing another artist’s work and is permeated by the pair’s collaborative spirit. Both Wasner and Kenney play multiple instruments on the record, and engineered the session alongside Kenney’s touring percussionist, Camille Lewis.

    An eagerness to explore and experiment is apparent from start to finish, as Kenney and Wasner weave endless sonic curve balls into the arrangements. From the delightfully warped percussion on opening track “Overhead” to the burbling synths on the R&B-tinted “The Flavor of the Fruit Tree” and the left-field trumpet solo in “Your Art,” these rich and inventive ideas echo Yo La Tengo’s everything-but-the-kitchen-sink mentality, as well as the surging soundscapes of Tame Impala and Wye Oak at their most impressionistic. Lead single "Cut Me Off" is a surprise of its own - the most pop-forward song Kenney has written yet. “Bad Idea,” finds her balancing fragility as foil; later, “I Went Home” manages to evoke both frustration and affection in a single breath.

    The complex and open-ended questions that lay at the core of Perfect Shapes mark Kenney’s arrival into a hard-hitting reflective space: How do you love another when it hurts to do so? What is the physical limit to which one can carry the emotions of others? How does a modern female artist reckon with the expectations demanded of her femininity? Yet for all the notes of doubt and fear that Kenney raises, she delivers each song with confidence and poise, grounded by the pointedly laid and surging soundscape.

    Kenney has always had a penchant for curiosity and experimentation. Raised in the Pacific Northwest, she began studying classical piano and dance in kindergarten, and grew to believe her future lay in modern dance choreography. Not one to be tied to a singular pursuit, however, Kenney took a hard left in college, studying Interpersonal Neurobiology and supporting herself with a career in baking. Music remained a constant however, and after moving to the Bay Area in 2013, Kenney quickly found footing in the supportive arts community in Oakland. There, she met and began collaborating with Chaz Bear (Toro Y Moi), which led to the production of her Signals EP and later her debut album, Night Night at the First Landing. Both releases were received with great critical acclaim, and saw Kenney exploring the sounds within her self-proclaimed twang-haze genre, defined by cathartic fuzz breakdowns and lyrical sensitivity.


    TRACK LISTING

    1. Overhead
    2. Bad Idea
    3. Cut Me Off
    4. No Weekend
    5. Know
    6. The Flavour Of The Fruit Tree
    7. I Went Home
    8. Perfect Shapes
    9. Your Art
    10. Always Around Me

    Madeline Kenney

    Night Night At The First Landing

      Madeline Kenney begins her new album with a helpful reminder: “Don’t forget, there’s room for you.” The declaration is meant to lay to rest unnecessary competition. The universe is pretty large. It’s a fitting welcome to Kenney’s debut full-length, Night Night At The First Landing. The record is framed by meditative, repetitive recordings that each offer some kind of encouragement. "Don't you worry about a thing, you're fine." "I won't give up on anything now." The trip on Night Night is deciding whether the narrator is full of confidence or talking to themselves privately.

      Kenney began working on the record immediately after completing her first EP, 2016’s Signals. As with Signals, Company Records label head Chaz Bundick (Toro Y Moi) was on hand as producer, but with Kenney as the arranger and key creative force, Night Night reveals more of the artist. Kenney wrote and arranged all the songs and tracked most of the instruments at home.

      "No one's a hero for just being strong," Kenney sings on first single “Rita,” letting us know it’s about action and how that strength is utilized. It takes guts. The song bursts with an exhilarating guitar workout providing a clear-headed version of distorted bliss. Similarly euphoric is a math-y tapout on “Witching Hour.” Narratives of people and how those people affect others are surrounded by musical worlds of echo and propulsion. The melody through-line of “Always” is a transfixing piano part of royal heritage. “Big One” is a lyrical puzzle and a musical skip across happy times.

      The album is unavoidably dreamy, dipping into sweet fuzz while usually sailing through smooth, crystalline production. The songs are about people, and though people sometimes disappoint, this record is meant to comfort. Fall into it and imagine the clouds scooping you up, or the changing tide’s ripples gliding you past a gentle moon’s new reflection.

      STEREOGUM: “Lead single “Rita” is exceptional, building from understated beauty to dense guitar theatrics. It reminds me of Chicago circa ’93 as remembered in a dream — a little bit of Liz Phair 'Exile In Guyville' - rendered in soft-focus with the graceful confidence of a young master. Its video, directed by Adam Murphy, makes for a compelling introduction. 

      TRACK LISTING

      1. Don't Forget // There's Room
      2. Rita
      3. Witching Hour
      4. John In Irish
      5. This Way // You're Happy
      6. Always
      7. Big One
      8. Waitless
      9. Uncommon
      10.Give Up // On Anything


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