Hidden behind early 2000s web graphics lies the deluxe version of Leilani Patao’s first EP, dabbling in weirdpop and textural ambient that show a confessional and at times alt-rock approach to the genre. Daisy Deluxe offers much about the subject of hair, how we manipulate it, and how it grows and changes alongside us. Tracks will directly and indirectly address it, even in their titles, and make for a very touching and complete coming-of-age feel.
The first track greets you with a syncopation effect on vocals for a very digital brand of ethereal feel. What struck me most is the progressions that run behind the ear-catching vocals are certainly playful. I’m trying to avoid naming this hyperpop, but it just so stands that 100 gecs is a prominent influence, especially on second track “get em boy” where a heavily modified voice leads an otherwise introspective synth and chopped up drums. As the album progresses, there’s also experimentation with lo-fi that borders on disc rot. It ages the project nicely, like something you’d find in an old closet.
“Bird Whistle” starts a three-track period in the album that bores a resemblance to more contemporary alt-rock, albeit poised against instrumentals it might not be used to. It’s wonderful experimentation and makes very fresh songs out of familiar elements. The slew of songs that follow, most notably “red hair dye”, carry the hypnotic and encapsulating feeling that is just reminiscent of earlier Clairo tracks, while still carving out its own identity. “Portrait” is the quietest so far, lulling in elements more minimal and at times raw. It still picks up and punches you at the end (and I love that!)
At this point, I think it’s easiest to divide the album into two distinct explorations, where as we progress, we see Daisy Delxue flicker between leaning fully into homely catharsis rock and its otherworldly more digital elements. There’s no “rock” or “electronica” section to point to as distinct eras, as both elements inundate every song on the project. I might talk about the songs only relative to each other from now on, and not necessarily according to setlist, just because there’s many callbacks and similarities I’d trip over if I tried making sense of it as a straightforwardly chronological project.
“Cut” brings us back to the sound we started the album off with, gaining more on the pop side of weirdpop. Even if it makes me sound like a poser, I’m gonna go ahead and say it reminds me of Magdalena Bay’s “Imaginal Disk”. It’s fun pop, it’s atmospheric pop, it’s pop that oozes substance. It’s everything most could only aspire to get right, and it’s insane this album does that while also giving very strong examples of all the genres at which it tries its hand.
“what“ says goodbye to the core section of the album in a beautiful yelled-out ode about everything yet to come. The experience is not over, though. The album will stick with you, but we’re also greeted with remixes of some of the songs we just experienced, most fully juicing the electronic side of the album. “Red Hair Dye” gets more chopped-up drums and an almost surgical-grade sounding production from iyrliaes, in similar fashion to Benjamin Shaw’s remix of “get em boy”. Most of them are actually really chill reinterpretations, sometimes reminding of work from contemporaries like underscores, especially when treading faster elements, like on “BIRD WHISTLE (magana remix)”
Leilani hates streaming culture, and quite frankly, so do we. If you wanna help that dream come true, head over to Bandcamp to support her and check out Daisy Deluxe!
Written by Charlotte Lacambra
