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Butterflies Don't Go Away
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Butterflies Don't Go Away
Current price: $35.99
Barnes and Noble
Butterflies Don't Go Away
Current price: $35.99
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Released on two pieces of vinyl, and in a digital edition identically sequenced for streaming and download,
Butterflies Don't Go Away
comprises the majority of what Detroit's
Majesty Crush
released during their early- to mid-'90s existence. Its first half is
Love 15
, the band's
Elektra
-distributed album from 1993, and the second half bundles up most of the material from their handful of independent EPs and singles. The set was prefigured by a rightful lead-off role on
Third Man Records
'
Southeast of Saturn
, a 2020 compilation subtitled "Michigan Shoegaze/Dream Pop/Space Rock." Those subgenres are practical if inexact classifications for
in terms of chronology and sound.
Michael Segal
's ingenuity-over-proficiency guitar stylings had enough swoop-and-crash action to enchant shoegazers, the band's imagination was fueled by dream pop neologists/paragons
A.R. Kane
, and their rhythms resembled those of ultimate space rockers
Loop
whenever
Hobey Echlin
's bass pulsations locked into
Odell Nails
' circular drum patterns. No band of any stripe or era, however, had a frontman like
David Stroughter
. An eccentric and leering live-wire figure who wrote fanatical lyrics about stars of the small and large screen, and of the tennis court, he sighed, quavered, and howled about his obsessions, and those of the characters he portrayed, like a true one-off.
Stroughter
had a vision in "No. 1 Fan" of taking out anyone who got between him and his femme fatale, and when it was revealed that he'd "kill the president," it became apparent that he was writing from the perspective of
John Hinckley
. His conviction in that song is as strong as it is in the trudging "Brand," a very personal-sounding confession of dependency.
just as effectively wrote clever fiction like "Penny for Love," wherein an enterprising suitor becomes a sex worker to pay for time with another sex worker. That it's related as a merry pop song, and was conceived immediately after the singer was released from false arrest for armed robbery, is something else. Not included in this package are respectively tense and wiry first versions of "Grow" and "Penny for Love" (the dutiful
Numero Group
reissued both digitally) and "Bestower of Blessings" (from
Sans Muscles
). Also floating out there is the self-released
A Vintage Crushed by Your Own Feet
, a half-live/half-studio 1991 cassette, the band's
Graveyard and the Ballroom
. Still,
is fulfilling.
Fred Thomas
' in-depth essay tells the story of a band cut short by misfortune and fragmentation. Just as important, the printed lyrics confirm for old listeners that, yes, the seething
is indeed positing "I get the feelin' that you wanna fuckin' poison my tea" in the maelstrom of "Purr."
might not have been on the brink of a mainstream breakthrough, but maybe there's an alternate universe where they continued to make their peculiar razor-stuffed pop confections and became as known as any of the bigger bands with whom they shared a stage. ~ Andy Kellman
Butterflies Don't Go Away
comprises the majority of what Detroit's
Majesty Crush
released during their early- to mid-'90s existence. Its first half is
Love 15
, the band's
Elektra
-distributed album from 1993, and the second half bundles up most of the material from their handful of independent EPs and singles. The set was prefigured by a rightful lead-off role on
Third Man Records
'
Southeast of Saturn
, a 2020 compilation subtitled "Michigan Shoegaze/Dream Pop/Space Rock." Those subgenres are practical if inexact classifications for
in terms of chronology and sound.
Michael Segal
's ingenuity-over-proficiency guitar stylings had enough swoop-and-crash action to enchant shoegazers, the band's imagination was fueled by dream pop neologists/paragons
A.R. Kane
, and their rhythms resembled those of ultimate space rockers
Loop
whenever
Hobey Echlin
's bass pulsations locked into
Odell Nails
' circular drum patterns. No band of any stripe or era, however, had a frontman like
David Stroughter
. An eccentric and leering live-wire figure who wrote fanatical lyrics about stars of the small and large screen, and of the tennis court, he sighed, quavered, and howled about his obsessions, and those of the characters he portrayed, like a true one-off.
Stroughter
had a vision in "No. 1 Fan" of taking out anyone who got between him and his femme fatale, and when it was revealed that he'd "kill the president," it became apparent that he was writing from the perspective of
John Hinckley
. His conviction in that song is as strong as it is in the trudging "Brand," a very personal-sounding confession of dependency.
just as effectively wrote clever fiction like "Penny for Love," wherein an enterprising suitor becomes a sex worker to pay for time with another sex worker. That it's related as a merry pop song, and was conceived immediately after the singer was released from false arrest for armed robbery, is something else. Not included in this package are respectively tense and wiry first versions of "Grow" and "Penny for Love" (the dutiful
Numero Group
reissued both digitally) and "Bestower of Blessings" (from
Sans Muscles
). Also floating out there is the self-released
A Vintage Crushed by Your Own Feet
, a half-live/half-studio 1991 cassette, the band's
Graveyard and the Ballroom
. Still,
is fulfilling.
Fred Thomas
' in-depth essay tells the story of a band cut short by misfortune and fragmentation. Just as important, the printed lyrics confirm for old listeners that, yes, the seething
is indeed positing "I get the feelin' that you wanna fuckin' poison my tea" in the maelstrom of "Purr."
might not have been on the brink of a mainstream breakthrough, but maybe there's an alternate universe where they continued to make their peculiar razor-stuffed pop confections and became as known as any of the bigger bands with whom they shared a stage. ~ Andy Kellman
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