ALBUM REVIEW :: Rosé Perez & Period Bomb - "Born in a Bag"
Rosé Perez & Period Bomb- “Born in a Bag”
Independently released on October 23rd, 2019.
“With an album cover depicting a woman pulling her placenta out of her vagina, Rosé Perez and Period Bomb’s raunchy feminist collabaration is a raw ode to the absurdity that is womanhood. These performers were the perfect pair to share an album, each song is perfect for any episode of Daria and their grungy guitar and high pitched vocals are perfect for those home-alone dance parties while you’re getting ready to go out.
Rosé Perez begins the album with its opening track “Megan’s Wedding”, which greets us with stitched-together recordings of news coverage from the royal wedding of Prince Harry and Meghan Markle. After echoing Markle’s vows, a synth-y pop tune made for dancing introduces vocals reminiscent of 90’s pop, because who here isn’t “just another LA girl with dreams of stardom?” The gentle wind chimes in this song fade out to create a seamless transition to the soft guitar melody beginning “Placenta Agenda.” Soon this dedication to “the only transient organ in the body” accelerates into a chord heavy grunge anthem. The lyrics such as “Placenta on ice, Placenta as a side, Placenta with fries just $1.99”, are delightfully shocking.
Continuing the album’s mood with more punk-y vocals, “Masculine” is a hilarious take on how ridiculous masculinity can be. This bass-heavy banger pokes fun at the “McMansion lifestyle” and begs the listener to laugh louder than they have their volume set. “Diva Cup™” provides visuals of period blood incidents hilariously told in a valley girl accent paired with a more controlled strummy guitar. The real treat of this track is the flute paired with beautifully off-key vocal harmonizing.
“Social Niceties” begins Period Bomb’s contributions to the album with a distinct mood change while upholding the album’s theme of social commentary. They mock social norms such as “you good?” to the wonderful backdrop of a tense guitar, drums that feel like heart palpitations and nervous sci-fi-ish sounds.
“Jazz Song” gently fades in with a guitar strumming alongside an electronic hum, and stuttery drums again purveying anxious feelings which are leveled out with the vocals, which seem like the between-song banter of the band’s front-person. As this type of interaction always goes, the listener follows the vocalist along a semi-connected train of thought until they dissolve into obscure voice undulations, then fades out as mysteriously as it began.
Picking up the pace again, “Sexy Cowboy” is a junkyard grunge tune with heavy bass, spunky wire sounds, and more relaxed vocals. Finally, with a mood returning us to the first half of the album, it’s last track, “Cuntroll Freak”, is another 90’s femme-grunge tune focused on the bass guitar and pop vocal harmonies.
Overall, this album was very successful in that the artists not only made great music I couldn’t stop listening to, but also said several things we all needed to hear including “fuck Jordan Peterson and Ben Shaprio”.
Review by ::
Wayne Moots
Manor Teammate
Manor Records gives 100% of article author rights to Wayne Moots
