“Bold Ego Fledgling” Album Review
The Inconsistent Jukebox
  • 4/5
Reviewed by Jen Dan

Barry Snaith, the collaborative artist behind The Inconsistent Jukebox, drops a gritty, urban electro-rock track.

Barry Snaith, the U.K.-based musician and producer behind the new project The Inconsistent Jukebox has been steadily creating compositions, solo and collaboratively, over years.  As a guitarist, Snaith has performed and recorded with the renowned artists The Ramones, Chrissie Hynde, and Johnny Thunders.  As a solo artist, he has crafted soundscapes that have been used in fashion shows and installations.  Snaith is now working under the name The Inconsistent Jukebox and set to release debut electro-rock single “Bold Ego Fledgling” and its 4 remixes August 5th via Supersonic Media.

“Bold Ego Fledgling” is the product of Snaith’s ‘big picture’ vision and collective mindset that aims to bring together creatives from different fields, like video, dance, and painting, to bring a whole world to life.  While the music is of utmost importance, so is its video, artwork, and everything else associated with it.  “Bold Ego Fledgling” features singer-songwriter Ang Kerfoot on vocals and contributions from Spaniard Eco Rem and Hungarian jaw harp specialist Konokunok.  Liz Cirelli, David Augustin, Richard Brown, and Born2Groove provide the remixes and the single’s artwork was done by Eric Lacombe.  The video was choreographed by the famed Parris Goebel and features her ReQuest Dance Crew.

The electro-rock/urban-pop hybrid tune shows off another sonic side of Snaith as he plunges into the electronic rock genre with gritty jags of distorted guitar that sound like harshly buzzing electronic static.  Crisply crackling noises, low-end bass line undertow, a brisk beat, and Konokunok’s bouncing jaw harp twangs run through the track. 

On the verses Kerfoot exclaims the short-phrase lyrics dispassionately, then lifts off with a lighter, more vulnerable tone on the chorus as she sighs longingly, “Baby’s got it planned / She’s gonna start again.”  Delicately spun acoustic guitar lines follow Kerfoot’s gentler vocals on the chorus, as she weepingly reveals that, “…she sees she’s still among the undertow.”

 

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