Recorded with legendary producer Dave Fridmann (Nick Cave, MGMT, The Flaming Lips) at his own Tarbox Road Studios in western New York, “Hotel Usona”—Protomartyr’s seventh full-length studio album—is an effort that finds the Detroit post-punk outfit reckoning with the horrors of our current moment. It is not easy listening. It’s essential.
Over the last two decades, Protomartyr—vocalist Joe Casey, drummer Alex Leonard, bassist Scott Davidson, guitarist-multi-instrumentalist and co-producer Greg Ahee—have built one of the most rewarding and often exhilarating bodies of work in recent memory by veering in and out of darkness, grappling with what most frightens us, saddens us, disgusts us, embarrasses and enrages us. The stuff that makes us human.
Casey has imagined his country as an aging hotel here, each song a room haunted by its own troublesome guest: the slow paralysis of modern life (“Sounds We Cannot Hear”), AI (“Feed the Sewer”), deportation (“Third Country”), warped patriotism (“Exalted Eagles”), violence (“The Knife Dream”), JD Vance (“Converts”), and the often unbearable weight of becoming a father anyway (“Checking Out”). It’s a hard look at a nation in free fall, gripped by fascism.
Musically, Ahee has built worlds within a world, drawing new influence from the Middle East and ‘50s exotica, finding common ground between dread and joy, a speciality. All of it—Leonard’s drumming in particular—is rendered more tangible and terrifying by Fridmann, whose son, Jon, contributes horns. You can feel the stakes in every song, feel the band levitating to meet them. They’ve never sounded more powerful.
Now they have shared the album’s second single, “Feed the Sewer,” via a music video.
Frontman Joe Casey had this to say about “Feed the Sewer” in a press release: “The title comes from a line of dialogue in a Peter Greenaway movie. The sentiment of the song is that artificial intelligence is against humanity. The belief is that people are often willing to destroy the world in exchange for convenience. The lyrics are the usual mish-mash of political fears, personal grievances, literary references, and poop jokes. The music is very loud, like a data center.”
Andrew Theodore Balasia directed the song’s video and says: “Loneliness in the age of surveillance is the theme we explored for this video. The motel becomes a physical microcosm of data collection, each room a profile—each guest willingly paying to stay in a room that is being monitored by strangers. The banality of what’s being observed becomes its own source of unease, stripping away spectacle until all that remains is the dull, unsettling desire to connect with anything.”
Detroit-formed post-punkers Protomartyr are releasing a new album, “Hotel Usona“, on September 25th via Domino.
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