Unless you’ve been living in an isolated Tibetan monastery, located in a cave you’ve likely been made familiar with the Athens, GA-based The B-52s, who since their formation over 40 years ago by founding (and surviving members) Fred Schneider (vocals), Kate Pierson (vocals, keys), Cindy Wilson (vocals) and Keith Strickland (drums, rhythm guitar) have a long-held reputation for a sound that draws from 60s garage rock, New Wave, post-punk and dance music, complete with the guy vs. gal, call and response vocals. Copious amounts of ink have been spilled on the band throughout their run together, so it won’t be necessary to delve deeply into the band’s history; however, over the past few years, the band’s Cindy Wilson has embarked on a solo recording career that has managed to be an almost complete departure from her primary gig’s imitable and deeply influential sound.
Earlier this year, I wrote about “Ballistic” off her Supernatural EP a single, which revealed that as a solo artist, her sound nodded at much more contemporary sources — i.e., the anthemic and trippy electro pop of Gary Numan, Tame Impala, Air and punk pop, complete with pulsating synths. And interestingly enough, much like the Supernatural EP, Wilson’s forthcoming solo debut Change, which is slated for a November 17, 2017 through Kill Rock Stars Records was produced and engineered by PacificUV’s and Dream Boat‘s Sun Lyons, and continues her collaboration with some of Athens’ finest and most acclaimed, contemporary, young musicians — including Easter Island‘s and Monahan’s Ryan Monahan, Ola Moon’s and PacificUV’s Lemuel Hayes, and powerkompany’s Marie Davon. “Mystic,” Changes’ first single continued on a similar vibe as “Ballistic,” as “Mystic” was a icily retro-futuristic and dance floor friendly blast of synth rock/New Wave over which Wilson crooned and cooed seductively rather than her world-renowned belting and shouting from the mountains. And what makes the song compelling is that it finds the Athens, GA-based legend at her most adventurous and mischievous while being an earnest and sincere exploration of more contemporary songwriting.
Unsurprisingly, Changes’ latest single, “No One Can Tell You” continues Wilson’s further exploration of contemporary sound and songwriting — although the album’s latest single manages to nod at 80s synth pop and early house and the neo-disco sounds of Escort, Midnight Magic and others, thanks to four-on-the-floor-like rhythms paired with layers of shimmering and propulsive arpeggio synths and ethereal yet infectious hooks. Of course much like the preceding single, the song features Wilson crooning and cooing seductively in a dance floor-friendly track.