Cooper explodes with new genre-defying project
Before September 3rd, 2021, the world had a band called Liz Cooper & The Stampedes. After September 3rd, 2021, the world has a rockstar named Liz Cooper. Distancing herself from an already-experimental sound with The Stampedes, Cooper’s recent lonesome escapades have given her a chance to further distinguish herself in the eyes of listeners. This is exactly what she has done with her debut solo album, Hot Sass. An electric symphony of punk and funk, of collectedness and chaos and pain and pleasure, this project winds down a puzzling path of genre, sound and emotion.
“Slice of Life” begins people’s journey into the project. Rather than notes being the first impression of the album, sound effects akin to the sounds of breaking metal fill the ears. It then ventures into a steady and mysterious groove that features simplistic drums, guitars and keyboard patterns that continually are added throughout the song. While not the most exciting song, it does stick to its slowed perseverance of simplistic instruments. “I’m aware that I’m not well, I keep things close so you can’t tell,” sings Cooper with the opening lines of “Heart Shaped Candy”—another slowed, groovy song about quiet contemplation.
Almost as if this project is finally waking up and dusting the sleep away from its eyes, “Motorcycle” plays, and its life is finally shown. A funky electric guitar paves the way while synths, a cowbell and alternative drums back it up, creating a feeling similar to an OK GO song. A bass is soon implemented, adding a jump to the already lively beat.
The fourth track on the album introduces a fit of exciting anger with “Hot Sass.” As the title may suggest, this song rocks. From the first few seconds, an electric punk riff slaps people in the face in front of a jamming drum kit, battering one around in the background. During the verses, there is a slight cool down featuring Cooper’s modulated, ethereal voice guiding the break along. This does not last long, though, as listeners are thrown again into a whirlwind of punk.
“Lucky Charm” puts listeners in a different place. Beginning with a build-up of a single synth tone and drums, open space is created. On this blank canvas, Cooper rattles off an eight-minute song filled with long instrumentals and a funk/soul/punk smoothie, as aspects from each genre are taken or left behind to create her own sort of fragmented genre. Continuing on this psychedelic mixture of genres, “Getting Closer” is as if Tame Impala had grown up in Nashville like Cooper. Unceasing piano chords keep the beat alive over synths and bass guitars.
After these tracks of liveliness, it seems that the album has grown tired again and needs a nap. This downtime comes with the songs “Shoot the Moon” and “Fragile Lips.” Neither of these songs is the top track on the album; however, they are important to listen to. Not only because Cooper’s voice is highlighted, but their piano and acoustic piano allow listeners to slow down and comprehend what they have heard so far.
“My Oh My” begins with synths and drums in a cascading flow of psychedelic wonder. As it reigns itself back in, it graduates onto a groovy and intimate track that is painted lightly with piano chords. These chords add comfort to the eerie progressions behind them. The song fades into the last one on the album—“Smoke Break.”
Like a pizza without the toppings, a movie without a score or a poem without a title, this album was enjoyable; however, something was missing. Her creativity was impressive, but with the exception of a few songs, like “Heart Shaped Candy” and “Hot Sass,” the production especially did not feel complete. Though still an album that should be played again, a project that mixes so many genres should be fuller and more intricate.
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