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The Tufts Daily
Where you read it first | Friday, March 29, 2024

THEESatisfaction's 'EarthEE' experiments with atmospheric soul

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THEESatisfaction includes singer Catherine Harris-White and rapper Stasia Irons.

SubPop Records is well-known as a paradisiacal label for alternative and indie bands, filling its roster of artists with everyone from Nirvana to Sunny Day Real Estate to Fleet Foxes. The label has not done much to belie this reputation, and its most famous artists tend to fit nicely into the alt-rock box. So it comes as something of a surprise to stumble upon R&B duo THEESatisfaction on SubPop’s list. One listen through the pair’s latest album “EarthEE,” which came out Feb. 24, though, and it becomes clear that SubPop probably wanted to snatch up the self-proclaimed “Empresses of Time” before someone else did.

Comprised of rapper Stas Irons and singer Cat Harris-White, THEESatisfaction creates spacey, rhythmically irreverent songs that stand outside the realm of today’s mainstream hip-hop. Throughout the album, their lyrical wit adds to the atmospheric songs, weaving layers of soulful melodies and sharp raps.

The album opens with a thumping bass drum, introducing the listener to “Prophetic Perfection,” a brief foray into the duo's futuristic sounds.A strange synth melody joins the syncopated beat to create a disorienting feeling for the listener. Harris-White’s smooth vocals come in, grounding the music with her calming words: “Said the bird to the water / May I take a sip? / May I dip my toes in it?” Harmonies join her intermittently to add a reverberating lull. It’s apparent right from this first track that the album is not meant for those looking for mindless dance beats.

This is not to say that the music isn't accessible to the casual music lover. The avant-garde edges don’t estrange listeners with dissonance or overly erudite musical references. Instead, they create a contemplative air that demands attention. In addition, the brevity of the songs makes them far more enjoyable for those who are not used to the abundant MIDI effects that permeate the record.

“No GMO” shifts the pace of the album, upping the tempo with modulated synths and quick raps. Off-kilter solos later lead into quiet interludes in which the vocals take precedence. The drums drop out during these sections, as peculiar chords support Harris-White’s effortless vocals. Almost startlingly, the song ends during one of these interludes in an absence of drums and a refusal to resolve.

Another highlight, “Blandland,” features rapper Ishmael “Butterfly” Butler, who brings new dynamism to the track. His lyrics are clever and pointed, criticizing the dilution and appropriation of black culture: “A story loosely based on us / Without no pain and thus, the main essence / Essentially a booze or a misfocus / An absence of style where it should be must.” The importance of the content is placed against a mellow backbone of passive rhythms and dark synths, a stark contrast that brings more attention to the words.

Although the album soon picks up speed, many of the subsequent tracks still follow this shadowy musical quality. The weighty “Sir Come Navigate” opens with a sinister synth arpeggio that flourishes into a more euphonic riff. There’s a sense of elevation in the track, as the vocals swell into a self-assured delivery. The addition of Egyptian musical motifs to the song make it seem spiritual, to an extent. The same divine confidence is expressed in the lyrics: “Don’t you dare try to deceive me / I have sight therefore I perceive / You perceive me as an entity of life.”

Approaching the end of the album, the bizarrely crowded, spoken-word chaos of “Recognition” and the rich instrumentation of “I Read You” bring the album to an innovative close.

With its pulsing beats and lyrical brilliance, THEESatisfaction has produced a beautiful, thought-provoking album. While it’s certainly not the catchiest album of the year, it deserves recognition for its space-age exploration of new rhythmic and musical horizons.

Summary With its pulsing beats and lyrical brilliance, THEESatisfaction has produced a beautiful, thought-provoking album. While it’s certainly not the catchiest album of the year, it deserves recognition for its space-age exploration of new rhythmic and musical horizons.
4 Stars