Sad and sultry, lonely and lush, Brad stank’s music is essential for some late-night listening. Originally a drummer for the off-kilter pop-rockers Trudy and the Romance, Brad stank turned his hand to an odd mish-mash of jazz, psych, alternative, and lofi inspired rock. He’s still developing his sound, that much is clear, but there’s something about his music that means that I can’t quite lump it into the ever-growing category of ‘bedroom pop’, even though the telltale marks are all there: slightly jangly chorus-laden guitars, sparse percussion, and singing so laid-back that the artist was probably half-asleep whilst recording it.
To be perfectly frank, I don’t think his music was intended to be an artful, intensely philosophical insight into the human psyche, scattered with complex compositions and Dylan-esque witticisms. And that’s fine. His songs are damn catchy, and easy to listen to, and sometimes that’s all you need.
It’s like Michael Franks met Homeshake and they decided have a little jam together.
Take the first track that I heard from him, ‘O.T.D.’, as an example. The funk-inspired guitar riffs are the perfect transcription of the atmosphere of longing and separation that he intends to give off, and the textured vocals that are layered on top of this only add to this sensation. And let’s not forget the lyrics – “What she don’t say with her lips babe // She says with her eyes” is fantastically simple yet simultaneously sensual, much like the budget-friendly music video he produced for the song:
‘Condemned to Be Freaky’ is a more upbeat offering, with shades of blues and disco replacing the jazz influences – the driving instrumental juxtaposes well with the languorous singing and humourous lyricism. It’s the type of song that most of the current batch of bedroom music-makers wouldn’t attempt to make straight off the bat, but Brad stank pulls it off convincingly, displaying surprising versatility.
I’d also recommend ‘Flirting in Space’ as a mid-ground between these two efforts, soothing guitar and a baritone vocal delivery in the verses breaking into a floaty falsetto-laden journey in the chorus.
The best part? He knows that development is the next step –
“I’m starting to get frustrated with how stuff sounds in my bedroom. I’ve been trying to make stuff for a year in my room and you know where it’s going to go, in a way”
He’s only released five official tracks thus far, so there’s not too much else to say, but I can only look forward to what his next offering will be.
This article was written by Mo Hafeez