Austra to bring political subtleties to MEZZANINE SF

“I love you more than you love yourself,” croons Katie Stelmanis on a lead single of the same title from Austra’s recent album, Future Politics, out January 20 via Domino.

Regarding the this comment and song, there are two notes to take: First, that Stelmanis’ is not a country croon, but a full-bodied near-wail, distinctly informed by years of classical opera training. Second, that there may be a slight jab at Kanye West’s “I Love Kanye” in the grand scheme of things. But maybe I’m looking too hard.

The album arrives at the best time possible to be subtly powerful after being written in relative isolation over five years in Montreal. Future Politics paints an idea of a not-so-distant future freed from capitalism and corruption from the mind of a femme who was never afraid of voicing her opinion, particularly on the Great American POC (Platform-of-Choice, bozos), Twitter.

Though somewhat overrun by its titular message and inauguration release date, Future Politics itself is a musically momentous third record that follows Feel It Break (2011) and Olympia (2013) in a developmental trajectory similar to the way Lady Gaga’s Born This Way (2011) followed The Fame Monster (2009), which followed her release the year prior, The Fame (2008). That is to say, it contains the same harmonic continuity as the rest of the body of work belonging to this specific artist (and, in this case, associated acts involving bandmates Maya Postepski and Dorian Wolf); has matured (for better or for worse) lyrically; and is a cohesive collection that doesn’t quite breach the (often unplanned) fiery brilliance of an artist’s debut, despite drilling into the heart of their long-term artistic vision. Certainly, it has shed any sophomore insecurities.

For new listeners, Future Politics adheres well to familiar pop patterns while introducing the outfit’s unique operatic vocals. For longtime followers, Stelmanis is in bloom as a songwriter on Future Politics; the album shimmers with dance and techno influences, far brighter than what we’re accustomed to hearing from Austra. Its big-picture lyrics are honest yet subtle and, most importantly, confident about what can be created, because Stelmanis is consciously involved (read: #woke).

On “Utopia,” she proclaims: “My work is valid, I can’t prove it but I know.” Check this fact yourself Saturday 2/11 at San Francisco’s Mezzanine.

Written by Joanna Jiang