On the extended version of her 2016 EP I Don’t Wanna Be Too Cool, Kate Fagan releases an ’80s explosion with no synth left to spare combined with blunt punk lyricism. On the song’s title track, shaking and muted percussion gives way to a funky bassline that underlines the entire song. Small ska-influenced guitar musings line the track, pairing perfectly with the percussion. This all leads to an initial cry from Fagan’s vocal mix of Kate Bush and Pat Benatar before she convinces listeners that she doesn’t care about the mainstream.
As its title track denounces the mainstream, its follow-up “Waiting For the Crisis,” takes the government’s actions and turns them into pure musical satire. Fagan goes step by step from trading mass weapons in exchange for oil, waiting until the trading partner eventually falls and then comes in for the kill. Its instrumental is simplistic and fits the simplistic lyrics; haunting piano fills the intro and returns as the lyrics become increasingly angry. The guitar riffs match perfectly to the vocals. But the song climaxes right before it ends as Fagan details the domino effect to help offset the government deficit: “We sell arms to offset our deficit/ We sell tanks to offset our deficit/ We sell hate to offset our deficit.”
While Fagan’s blunt words could be the album’s focus, its instrumentals provide nostalgia for the late ’80s with little flourishes of Fagan’s main work in the Chicago-based ska band Heavy Manners. “Master Of Passion” is the flirtatious love song that easily emulates late ‘80s icons Kate Bush or Stevie Nicks. Aggressive synths and piano dot this track, with an infectious intro that drives the song forward.
Vocal-focused verses lose the synth in favor of bouncing bass and a muted guitar riff but the synths return for Fagan’s seductive spoken word sections that detail a steamy affair with an evil man. The imagery in this section leaves little to the imagination as Fagan sets a life-or-death love scene with fire, dancing in the dark with passion.
The album’s best track also features heavy synths and a theme of passion, “Cover It Up,” is paired with a wailing glam rock guitar that takes the track to another level. Starting off with a record scratch and a wailing riff, the aqua-inspired synths come in full force, providing a bouncing surface for the other instruments to stand on. Again, Fagan comes in full storm with words criticizing a lover for hiding their true feelings, pledging her love for someone who will be honest with how they feel but she truly knows how they feel: “You want me, you need me, let me know your love light shines for me/ Don’t cover it up, don’t cover it up.”
Overall, Fagan comes far away from her ska roots and provides an enjoyable album that seemingly comes out of 1987 in a remastered format. The bubbly synths, wailing guitars, ska riffs and creative lyricism truly make this album cool but not too cool.
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