Perfume Genius

This is an American rock 'n' roll album by big American pop star Perfume Genius.


Known early as a poster-wraith for notorious, joyous, tortured and free boys, girls and their fellow travelers, the first two albums by Perfume Genius consisted largely of exquisite and cruelly abbreviated songs seemingly sung in the dark at a piano with all the silences left in. The previously most recent album, 2014's Too Bright, stepped out saucily onto a bigger stage, expressing, with the production help of Adrian Utley, emotions arranged all along the slippery continuum from rage to irony to love. Now here we have seized the vocabulary of the full expression of all music.


Here in 13 ferocious and sophisticated tracks, Mike Hadreas and his collaborators blow through church music, makeout music, an array of the gothier radio popular formats, rhythm and blues, art pop, krautrock, queer soul, the RCA Studio B sound, and then also collect some of the sounds that only exist inside Freddy Krueger. Tremolo on the electric keys. Nightclubbing. Daywalking. Peter Greenawaying, Springsteening, Syreetaing.


Luridness was a quality of music in the 1960s that is mostly since shunned. The big male crooners were all fiercely lurid as an expression of passion or lustiness or general dickability. That's something perfect to take back. You took us to church and told us to believe in ghosts. You took us to school and told us to believe in the great American project of inclusion. Instead we started fucking to the great American project of rock and roll. There's more than one sexy soul song here. Seduction is also spellcraft. Rock and roll was an incantation, a beg to give it up baby. It's not that different from begging Some Thing to not let you die when you are alone and afraid.


Blake Mills - the one who produced the Alabama Shakes record and who performs with John Legend - produced the record with precision and expansion. Some things are pretty and some are blasted beyond recognition. In the studio with Shawn the engineer, Mike and Blake would hear quite different voices as they worked and they built this together.


God is all around actually and some of these songs are about being equal and some are about the witchcraft of believing. This is church music the same way Prince's Black Album is - too dirty. It's femme art pop the way Kate Bush's The Dreaming is - too scary. Prayer is indistinguishable from OCD but feels a lot cleaner.


1."I felt like when I made these other albums, people were like why are you talking about these things, and now people are going to be like, why aren't you talking about these things, because everything's so terrible. I'm never not talking about it. My life is existing in the fucking face of it. My music will always be in protest."

2."I pay my rent. I'm approaching health. The things that are bothering me personally now are less clear, are more confusing. I don't think I really figured them out with these songs. There's something freeing about how I don't have it figured out. Unpacking little morsels, magnifying my discomfort, wading through buried harm, laughing at or digging in to the embarrassing drama of it all. I may never come out the other side but it's invigorating to try and hopefully, ultimately helpful. I think a lot of them are about trying to be happy in the face of whatever bullshit I created for myself or how horrible everything and everyone is."

3."I can steal from people that are on the inside and act as if. I created my whole identity around never being on the inside."


Who gets to live now? That's a question up for active international debate. Lots of folks are getting a clear view into what they all think of us. When we can, we should not have to care. You should feel great listening here, even when you're sad. Our job is to find love and connection and goodness. Records like this, records that make you feel like you're 15 and just seeing the truth for the first time, are excessively rare. They're here to remind you that you're divine.
--Choire Sicha

Middle Class Fashion

On minor key piano pop trio MIDDLE CLASS FASHION's debut full length, GIRL TALK, the St. Louis-based group marries breezy, hook-infused pop elodies with slightly dark, classically inuenced arrangements and a penchant for complex, joyous vocal harmonies. Picture Tegan and Sara scoring a Tim Burton film with Danny Elfman.

Singer/pianist Jenn Malzone formed MIDDLE CLASS FASHION in 2010 with a member from each of her two other bands—drummer Brad Vaughn plays bass in Malzone's baroque pop outfit PAPER DOLLS, while she and bassist Brian McClelland co-lead the StL indie pop powerhouse TIGHT PANTS SYNDROME—mostly "to create an avenue for my songs that didn't seem to t as well with the other bands," Malzone said. "And with Brad and Brian's aptitude and enthusiasm for learning and developing new material we were able to speed up the creative process in a way we weren't able to in the other bands—basically, to write a song on Monday, learn it on Wednesday, and play it in front of an audience on Friday. It's fun, and it keeps us on our toes."

The band members have had a great year—Malzone was awarded BEST FEMALE VOCALIST by the RIVERFRONT TIMES' ST. LOUIS BEST OF 2011 poll, and her other project with McClelland, TIGHT PANTS SYNDROME, won BEST POP BAND in the RFT's 2011 MUSIC POLL. After taking a few baby steps early in 2010 with MIDDLE CLASS FASHION—including releasing and touring behind an acclaimed self-titled EP—MCF will be touring in 2012 behind their debut full-length, GIRL TALK, released to glowing reviews January 18, 2012 via Blip! Blap! Records + Tapes.

The band's hometown is rallying 'round the MCF flag—spins from St. Louis independent radio mecca KDHX have made GIRL TALK #1 on their CMJ TOP 30 chart, and the #2 most played album, local AND national, for all of 2012. the ST. LOUIS POST-DISPATCH featured the band in their LISTEN video series, shooting a whirling live performance of an unreleased track, "Stuck," in a very pink and girl talk-friendly hair salon. MCF wrapped up 2012 with RIVERFRONT TIMES BEST OF ST. LOUIS 2012 awards for BEST POP BAND and BEST LOCAL ALBUM.

Keyboardist Katie Lindhorst (THE GLASS CAVALRY) made MCF a quartet in Summer 2012 and features prominently in the band's new as-yet-untitled LP, to be released Spring 2013.

$15.00 - $18.00

Tickets Available at the Door

$2 minor surcharge at the door. 

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