As EclecticMusicLover, I’m always on the lookout for artists who push boundaries and venture outside the mainstream in the creation of their music and/or identity. Furthermore, as a gay man, it warms my heart to discover LGBTQ+ artists who not only have the courage and fortitude to put themselves out there, but also make music that’s really good. With that in mind, I was pleased to learn about queer doom pop band Reversels when their publicist reached out to me about them and their new album LaSabre, which dropped July 23rd.
Based in beautiful Asheville, North Carolina, Reversels consists of Frankie ‘Pretty Boy’ Floyd (vocals, keys and synths) and Story (vocals and guitar). Frankie is a classically trained pianist who previously toured as part of the rock band The Winter Sounds, as well as performing in churches, burlesque shows and on children’s programs. Story has performed in a variety of genres with numerous bands, including dark western with Death & the Reverend, post rock with From the North, and art punk with Minge. As Reversels, the two create dramatic, genre-bending electronica music awash with alternative, goth, darkwave, psychedelic, industrial, pop and rock’n’roll elements. Frankie identifies as transmasc (they/him), and Story identifies as non-binary (they/them). The two met at a burlesque after-party in late 2017, and bonded over their love of music and shared experiences of having both been raised in different cults.
Frankie grew up in a fundamentalist religious cult that glorified limitless procreation, and pressured fathers to have vasectomy reversals. The children born after these procedures were reversed became singers in the leader’s “Reversal Choir,” and were told they owed their existence to him. Frankie elaborates: “Homemade dresses, homeschooling, the exclusion of all music but classical and hymns, and glorification of the patriarchy are some of [the cult’s] defining features. Also, the teaching that it’s a sin to *not* have as many children as one can possibly have. The cult leader, Bill Gothard, taught that anyone who had had a vasectomy was called by God to have it surgically reversed and bear more children into infinity. This led to many large families with a dozen or more similarly-named and dressed children. This also led to my little sister, seven years younger than I, and now one of my best friends. During the cult’s annual gathering, cult families amassed in their matching navy and white homemade clothes to hear the cult leader spout misogynistic, authoritarian rhetoric. We also all took our seats in that large stadium, once a year, to hear the Reversal Choir: an eerie choir of children who existed because Bill Gothard had convinced their parents to get vasectomy reversals.”
Seeking to undo and overcome the harmful predatory, misogynistic, homophobic, and authoritarian teachings of their youth, Pretty Boy Floyd and Story named their act ‘Reversels’ to signify their mission of fomenting change toward an opposite direction and course of action, spelling it with an ‘e’ “to keep it cute”. Through their colorful music and bold, in-your-face lyrics, they aim to poke us out of our complacency by pushing back on constraints of gender, power dynamics and sexual taboos. Their hope is to “sing-into-being a world of gender diversity, sexual positivity, individual growth, and healing” as they “advocate for the underdog and the demonized, rejecting oppression and celebrating life & death in all of their majesty.”
The duo released their debut album Galaxie in November 2018, and followed in June 2019 with Crane, Breed. Now they’re back with LaSabre, their most ambitious work yet, with 13 tracks exploring their ongoing themes of queer love and loss. The album opens strong with “Gravitron“, a dramatic and powerful celebration of love and lust, and one of my favorite tracks. Starting off with a mix of swirling synths and guitar notes, the song quickly explodes into a maelstrom of pulsating psychedelic synths, thunderous percussion and gritty riffs, dramatically conveying the intense euphoria of unbridled sexual desire. I love the contrast between Pretty Boy Floyd’s beautiful lilting falsetto and Story’s deeper, commanding vocals as they sing “Lay your magic body heavy down upon me, In my ready arms, protecting you from harm. Tell me that you want me.”
The colorful, trippy and sexy video produced for the track shows Reversels performing the song, interspersed with scenes of two men, played by trans actors, passionately kissing and exploring each others bodies.
“Azael” quickly follows, a darkly beautiful cinematic feast for the ears featuring a complex array of both spooky and magical psychedelic synths, overlain with heavy, fuzz-coated guitars. Pretty Boy Floyd’s lovely, ethereal vocals contrast nicely with the harsher instrumentals, softly crooning the lyrics that speak to a character named Azael’s sexual yin and yang: “You put on your makeup, both a warrior and a queen. Mastering the magic that we’ve all been kept from seeing. Are you male or female, are you somewhere in between? Make me filthy also make me clean.”
It’s Story’s turn to shine on the darkwave gem “Relentless“, their deep, sensual, and almost menacing vocals conveying a strong sense of foreboding. Another favorite of mine, “Absurdity” has a dark, goth rock vibe with symphonic overtones, thanks to Reversels’ rich blend of otherworldly industrial and orchestral instrumentals and their gorgeous choral harmonies. The lyrics address the absurdities and mysteries of life that often defy reason or logic: “No sense in trying to understand the point of all of our lives. Lie down, take in the mystery. Unknown absurdity thrives.”
“Torch Song” is a smoldering song of carnal desire sung with raw, animal-like ferocity by Story that brings chills. Sung from the perspective of a drag queen, the lyrics speak to the promise of satisfying another man’s sexual fantasies: “I’ll be your toy. I got what you need. I’m just a boy. You’re just like me. I’ll help you burn.” In the video, which was filmed by Marquana Michael Burgess, directed by Story, edited by Danny Boyer and produced by Jennifer Love Lee, the drag queen singing the song is played by Natasha Noir Nightly, and the dancers are Clara Zander and Rebecca Miller. Story and Pretty Boy Floyd portray two men watching the proceedings.
“The Real Pretty Boy Floyd” is an ode to the famous bank robber Charles Arthur Floyd. Born into poverty in Oklahoma in 1904, he led a life of crime starting in his late teens, and is believed to have killed at least 10 people before being shot and killed by federal agents in 1934. Over the years, he’s endured in American popular culture as both a notorious gangster and as a tragic and altruistic figure. While he did indeed rob many banks and killed in the process, he also reportedly provided food to at least a dozen families who would have otherwise starved during the depression. And when he robbed banks, he allegedly destroyed mortgage documents, making it impossible for those banks to foreclose on poor farmers and homeowners. He was often protected by people across many states who referred to him as “Robin Hood of the Cookson Hills” or “Sagebrush Robin Hood”, because he stole from the rich and gave to the poor. He’s been immortalized in song by Woody Guthrie, and referred to positively by John Steinbeck in his seminal novel The Grapes of Wrath.
The great tracks keep on coming. On the brooding goth rocker “SoftBoy Rabbithole“, they touch on the good and bad aspects inherent in each of us. Along a similar vein, the dreamy, atmospheric “Dreamland” is a celebration of queer and trans love: “Queen inside a king. She’s inside all things. We’re inside a dream Infinitely possible ways to love another being. All that’s wanted is allowed, Trading organs, feel new things.” Another favorite of mine is “Cupcake“, featuring terrific guest vocals by Asheville rapper/emcee Vvitchboy, and trumpets by Jay Widenhouse. The song has a delicious trap beat, overlain with ominous industrial synths, wonderful blaring trumpets and soaring vocal harmonies that give the track a dark, cinematic vibe. Though somewhat ambiguous to me, the lyrics seem to speak to finding respite from life’s problems by indulging in carnal desires: “Drown in my madness, but I can’t contain it. Refrain from engaging with haters, and faithless. Don’t make me a martyr, I’m tryna live greater. We making out- banging these dryads and Satyrs. Worship at the altar of decadence. We’re having dessert, what did you make? We have offerings of sweetest debauchery. We got swords, cunnilingus, and cupcakes.”
Reversels channels a bit of Marilyn Manson on the gothic shock rock-esque “Boom Kitty“. With its intense and spooky industrial synths and blaring horns, this would make a great soundtrack for a horror film. Story and Pretty Boy Floyd’s dual growling vocals sound downright diabolical. “Skin” features a mesmerizing repetitive piano chord, overlain with dramatic gnarly guitars that sound fucking spectacular. Story’s raw, impassioned vocals are pretty terrific too. One of the more melodic tracks on LaSabre, “Dissolve/Resolve” has a more upbeat tempo, highlighted by beautiful strings and the duo’s lovely vocal harmonies. The closing track “My My” touches on the subject of sadomasochism, namely, how far two people are willing to go in order to fulfill their sexual fantasies: “If you wanted more of me it could be a tragedy. It would be the death of me to keep you satisfied. But if you must have more I guess you could put me to the test.” The song has a brooding, atmospheric vibe that turns more intense in the bridge, courtesy of Story’s blistering guitar solo.
What more can I say about this amazing album? While the subject matter may turn off some listeners, there’s no denying that Pretty Boy Floyd and Story are very good at what they do. Their songwriting, musicianship and vocals are outstanding, and I applaud their boldness and courage to explore provocative topics head-on with unflinching honesty and candor.