In 1639, when philosopher Rene Descartes began work on his “Meditations,” he had absolutely no chance of becoming a pop star. “Some philosophies fuel a belief in the self, constructed to keep one’s goods on one’s own shelf,” he wrote. Now, some 350 years later, Khaela Maricich (lead vocalist of Blow) has finally given Cartesian philosophy the street cred it deserves by using the line as an opener for first track “Parentheses.”
This allusion may sound strange with respect to pop music, so I’ll reference something more familiar to best explain the way in which Paper Television unfolds. Think of this album as a carefully wrapped lollipop; better yet, a Blow Pop. At the bubble gum center are 10 danceable love songs with familiar themes and catchy hooks. As we branch further out, Maricich’s lyrical content reveals itself to be both intricately complex and disorienting — no less sweet, but changing the texture of the music into a hard outer shell.
Everybody knows that what makes a Blow Pop so enjoyable is the work it takes to reach the gummy center. It is only upon the realization that Maricich’s words are not wholly unfamiliar, but instead colloquial and endearing, that the candy shell eventually melts and the record can be enjoyed in its entirety.
My simple analogy cannot begin to describe the sonic textures laid down by Jona Bechtolt. He keeps the music as diversely intriguing as Maricich’s lyrics with the military drums of “The Long List of Girls,” hip-hop infusion of “The Big U” and doo-wop/electro-pop blend of standout single “Parentheses,” with a chorus catchy enough to tackle top 40 radio. Paper Television is exactly what a pop record should be.
