Last updated on May 11, 2019
I’ve always found myself pulled between two sides. I’m an editor/writer; I create technical writing and fiction; I have friends and family in the extreme liberal and extreme conservative camps. I span many distances, with the moderate center being my home. This goes for my taste in electronic music as well: I am thoroughly on board with electronic music, as long as it retains some sense of being remotely a pop song. I’m not into deep house trance and such, which is very definitely music but perhaps not actually a song. So I’m (surprise) on the fence about White Blush‘s self-titled EP, as it makes overtures toward being both a project that creates discrete song-style entities and one that creates free-flowing music.
Carol Rhyu is the mastermind behind the project, and she creates a lush, dusky environment on the EP. This is best shown on “Jolene,” where a mechanical, post-Portishead beat is filled out melodically by all manner of synths and Rhyu’s cooing vocals. The environment could be called dark (it’s certainly not a summery song), but there’s no malice in the tune. It simply puts forward a distinctive mood evocative of night and develops it in a song-style structure, pulling together repeated parts into a semblance of verse/chorus/verse. “808 Myst,” on the other hand, is a soundtrack-style piece reminiscent of its title reference. It’s not bad at all, it just doesn’t appeal to me. I can’t hum it, nor recognize it as a discrete entity.
So it’s good for me that Rhyu skews more toward the pop end of the spectrum. “Mirror” starts off with a bouncy bassline reminiscent of goth rock, but layers Rhyu’s tentative, reverb-laden vocals over it for a nice tension. Even though the song doesn’t have a chorus to speak of, it’s still treated more like a pop tune in that she sings directly instead of treating her voice as another instrument in the mix. It ends up sounding a bit like Braids’ work, which is another band that treats pop music structures as things to be morphed and challenged in odd ways without losing their essential nature. (This is not the case with “Tru Luv,” which takes a similarly bouncy bass line and slowly builds in into an instrumental piece complete with distant cooing.)
Not being an expert in electronic music, I don’t know all the right and proper names for the genre or genres that White Blush falls into. I can say with definition, though, that Carol Rhyu can make an absolutely gorgeous song when she wants to, whether it’s in a pop idiom or not. “Jolene” is a fabulous song, one that only gets more interesting with time. And that’s the best sort of pop song.