PEOPLE LIKE US
The Mirror
Boomkat Product Review:
Vicki Bennett’s brilliant People Like Us short-circuits easy listening and psychedelia in her familiar-not-familiar style for a seriously trippy new one on Discrepant.
Still going on like The Caretaker’s twisted sister, here Vicki relays the results of a 2018 A/V show ‘The Mirror’ alongside a piece with her regular collaborator, avant-songwriter Ergo Phizmiz, from her 360º immersive cinema piece ‘Gone, Gone Beyond’ to provide a headful of none-more-elusive ohrwurms recalibrate at uncanny angles and in combo with myriad others. If you’ve followed her work thus far, you’ll know exactly what to expect, and get it just as you couldn’t imagine, but if you’re new to her work, prepare to pinch yourself and check you haven’t been overdoing the microdosing.
“Each song is singular. And each song is a collage of and undefined number of other songs from other artists. It sounds familiar because that has been the modus operandi of People Like Us since the early 1990s. But “The Mirror” plays with the notion of familiar, driving around a collection of famous pop songs/artists, messing around with the memory of the listener and, of course, his unique comprehension of those specific songs applied in a new context.
Because of the use of familiar pop sounds, “The Mirror” is often grandiose. Like an epic film only with highs, never letting the listener down or letting him doubt the power of pop. Even, of course, when the coordinates are twisted, mixed, over or underrepresented. Each moment feels like something that could only happen in a parallel universe.
Although that may sound naïve, it’s just a lost thought of reaction to the beautiful collages of People Like Us in “The Mirror”. This mirror doesn’t reflect an image of ourselves or an image of pop. But an image on the way memories drift and are being constant rebuilt. An unfinished collage.”
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Boomkat Product Review:
Vicki Bennett’s brilliant People Like Us short-circuits easy listening and psychedelia in her familiar-not-familiar style for a seriously trippy new one on Discrepant.
Still going on like The Caretaker’s twisted sister, here Vicki relays the results of a 2018 A/V show ‘The Mirror’ alongside a piece with her regular collaborator, avant-songwriter Ergo Phizmiz, from her 360º immersive cinema piece ‘Gone, Gone Beyond’ to provide a headful of none-more-elusive ohrwurms recalibrate at uncanny angles and in combo with myriad others. If you’ve followed her work thus far, you’ll know exactly what to expect, and get it just as you couldn’t imagine, but if you’re new to her work, prepare to pinch yourself and check you haven’t been overdoing the microdosing.
“Each song is singular. And each song is a collage of and undefined number of other songs from other artists. It sounds familiar because that has been the modus operandi of People Like Us since the early 1990s. But “The Mirror” plays with the notion of familiar, driving around a collection of famous pop songs/artists, messing around with the memory of the listener and, of course, his unique comprehension of those specific songs applied in a new context.
Because of the use of familiar pop sounds, “The Mirror” is often grandiose. Like an epic film only with highs, never letting the listener down or letting him doubt the power of pop. Even, of course, when the coordinates are twisted, mixed, over or underrepresented. Each moment feels like something that could only happen in a parallel universe.
Although that may sound naïve, it’s just a lost thought of reaction to the beautiful collages of People Like Us in “The Mirror”. This mirror doesn’t reflect an image of ourselves or an image of pop. But an image on the way memories drift and are being constant rebuilt. An unfinished collage.”
Boomkat Product Review:
Vicki Bennett’s brilliant People Like Us short-circuits easy listening and psychedelia in her familiar-not-familiar style for a seriously trippy new one on Discrepant.
Still going on like The Caretaker’s twisted sister, here Vicki relays the results of a 2018 A/V show ‘The Mirror’ alongside a piece with her regular collaborator, avant-songwriter Ergo Phizmiz, from her 360º immersive cinema piece ‘Gone, Gone Beyond’ to provide a headful of none-more-elusive ohrwurms recalibrate at uncanny angles and in combo with myriad others. If you’ve followed her work thus far, you’ll know exactly what to expect, and get it just as you couldn’t imagine, but if you’re new to her work, prepare to pinch yourself and check you haven’t been overdoing the microdosing.
“Each song is singular. And each song is a collage of and undefined number of other songs from other artists. It sounds familiar because that has been the modus operandi of People Like Us since the early 1990s. But “The Mirror” plays with the notion of familiar, driving around a collection of famous pop songs/artists, messing around with the memory of the listener and, of course, his unique comprehension of those specific songs applied in a new context.
Because of the use of familiar pop sounds, “The Mirror” is often grandiose. Like an epic film only with highs, never letting the listener down or letting him doubt the power of pop. Even, of course, when the coordinates are twisted, mixed, over or underrepresented. Each moment feels like something that could only happen in a parallel universe.
Although that may sound naïve, it’s just a lost thought of reaction to the beautiful collages of People Like Us in “The Mirror”. This mirror doesn’t reflect an image of ourselves or an image of pop. But an image on the way memories drift and are being constant rebuilt. An unfinished collage.”
Boomkat Product Review:
Vicki Bennett’s brilliant People Like Us short-circuits easy listening and psychedelia in her familiar-not-familiar style for a seriously trippy new one on Discrepant.
Still going on like The Caretaker’s twisted sister, here Vicki relays the results of a 2018 A/V show ‘The Mirror’ alongside a piece with her regular collaborator, avant-songwriter Ergo Phizmiz, from her 360º immersive cinema piece ‘Gone, Gone Beyond’ to provide a headful of none-more-elusive ohrwurms recalibrate at uncanny angles and in combo with myriad others. If you’ve followed her work thus far, you’ll know exactly what to expect, and get it just as you couldn’t imagine, but if you’re new to her work, prepare to pinch yourself and check you haven’t been overdoing the microdosing.
“Each song is singular. And each song is a collage of and undefined number of other songs from other artists. It sounds familiar because that has been the modus operandi of People Like Us since the early 1990s. But “The Mirror” plays with the notion of familiar, driving around a collection of famous pop songs/artists, messing around with the memory of the listener and, of course, his unique comprehension of those specific songs applied in a new context.
Because of the use of familiar pop sounds, “The Mirror” is often grandiose. Like an epic film only with highs, never letting the listener down or letting him doubt the power of pop. Even, of course, when the coordinates are twisted, mixed, over or underrepresented. Each moment feels like something that could only happen in a parallel universe.
Although that may sound naïve, it’s just a lost thought of reaction to the beautiful collages of People Like Us in “The Mirror”. This mirror doesn’t reflect an image of ourselves or an image of pop. But an image on the way memories drift and are being constant rebuilt. An unfinished collage.”
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Boomkat Product Review:
Vicki Bennett’s brilliant People Like Us short-circuits easy listening and psychedelia in her familiar-not-familiar style for a seriously trippy new one on Discrepant.
Still going on like The Caretaker’s twisted sister, here Vicki relays the results of a 2018 A/V show ‘The Mirror’ alongside a piece with her regular collaborator, avant-songwriter Ergo Phizmiz, from her 360º immersive cinema piece ‘Gone, Gone Beyond’ to provide a headful of none-more-elusive ohrwurms recalibrate at uncanny angles and in combo with myriad others. If you’ve followed her work thus far, you’ll know exactly what to expect, and get it just as you couldn’t imagine, but if you’re new to her work, prepare to pinch yourself and check you haven’t been overdoing the microdosing.
“Each song is singular. And each song is a collage of and undefined number of other songs from other artists. It sounds familiar because that has been the modus operandi of People Like Us since the early 1990s. But “The Mirror” plays with the notion of familiar, driving around a collection of famous pop songs/artists, messing around with the memory of the listener and, of course, his unique comprehension of those specific songs applied in a new context.
Because of the use of familiar pop sounds, “The Mirror” is often grandiose. Like an epic film only with highs, never letting the listener down or letting him doubt the power of pop. Even, of course, when the coordinates are twisted, mixed, over or underrepresented. Each moment feels like something that could only happen in a parallel universe.
Although that may sound naïve, it’s just a lost thought of reaction to the beautiful collages of People Like Us in “The Mirror”. This mirror doesn’t reflect an image of ourselves or an image of pop. But an image on the way memories drift and are being constant rebuilt. An unfinished collage.”
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