*First 350 people who pre-order via Sister Polygon Records directly will receive a 18"x24" glossy poster and a The Seduction of Kansas enamel pin.
st building platform.Washington, D.C. rock trio Priests - comprised of drummer Daniele Daniele, vocalist Katie Alice Greer, and guitarist G.L. Jaguar - share “Good Time Charlie,” off of their forthcoming album, The Seduction of Kansas, out April 5th via Sister Polygon Records. They also share an accompanying lyric video. Following the lead single and the band’s purest pop song to date, “The Seduction of Kansas,” “Good Time Charlie” is a tightly wound track spun out of America’s westernized vision of violence.
“I like to think of this song a little bit like the Gilligan’s Island Theme song, but for a Hollywood tale of Charlie Wilson. It’s also a little bit about 9/11 but much like Otessa Moshfegh’s My Year Of Rest And Relaxation, the character sketch is more drawn out in its absence rather than presence. I saw a documentary about the history of the United States’ relationship with the Middle East, and there was clip of an 80s lady who looked a little like Vanna White (who turned out to be Joanne Herring) saying how she wanted to get the Mujahadeen guns to fight the communists because she believed they worshipped the same god as her. So I got curious about how this story unfolded, but even more so, how the tale has been told in western culture. I watched the movie Charlie Wilson’s War and it was so unintentionally funny the way they told this story, like think of the movie Team America, except the filmmakers weren’t joking (at least I don’t think). And then I read in the film’s Wikipedia page: “The film's happy ending came about because Tom Hanks 'just can't deal with this 9/11 thing.'” I don’t know why exactly but this got stuck in my head and made my brain feel like it was exploding. So, with Daniele and GL and Janel Leppin on bass, we made it into a song. Hope you like it!”
The Seduction of Kansas probes the realities and mythologies of America in 2019. Marking the first time the band has collaborated with someone outside of their DC-based community - a decidedly less hermetic approach - they found a kindred spirit in producer John Congleton (Angel Olsen, St. Vincent). The band spent two weeks recording at his Elmwood Studio in Dallas. They also enlisted help from primary bassist and fourth songwriting collaborator, multi-instrumentalist Janel Leppin, who played on the band’s previous album, Nothing Feels Natural. The songwriting process found the group once again analyzing the textures and scopes of albums as aggressive as they are introspective, like Massive Attack’s Mezzanine, Portishead’s Third, and Nine Inch Nails’ Downward Spiral.
Priests will soon embark on a North American and European tour.