Boomkat Product Review:
Katie Vick kicks off a promising new run of Bala Club releases, bending indie-pop psychedelia and fresh new reggaeton styles to their will
Far as we can tell, the name Katie Vick refers to a notorious necorphilia storyline in WWF, and the artist(s) have resurrected it for purpose here, possibly to signify their canny blend of nostalgic ‘90s indie/grunge/hard dance/pop culture references with up-to-the-minute reggaeton and trap rhythms.
So yeh, ‘La Muñeca’ is a really strange, unpredictable turn of affairs. It starts in abstract terrain with the 10 minutes of disorienting, dream sequence-like sonics in ‘Girly Furry Attorney’ like some Animal Collective prototype warped into now, then promptly segues into the region bumps of ‘Pegao’, establishing a zig-zagging style that flows thru the album’s mosaic of fractured elements, from James Ferraro-meets-Scritti Politti vibes in ‘Oppress Me’, and the cocaine blues trap of ‘Okada’, to curdled fusion of goth synth pads and autotuned R&B in ‘Cemetery’, modern Ferraroisms in ‘Blacklisted’, and puckered synth-pop with ‘Weak (Orange + Round)’, and a scratchy indie-rock nod to princess of ‘90s American pop culture with ‘The Social Climber Starring Jennifer Love-Hewitt’.