Dead writers pulled out all the suave stops for their rock n roll cabaret single and debut music video, Lisa, inspired by Dostoyevsky’s Notes from the Underground.
The second single from their debut EP is a slight departure from the gothy Manics-Esque gravitas we heard from their previous release, Among Spirits. Nevertheless, the same zealous dedication to their savantic sonic interpretation of classic literature lives and breathes through the decadent tale of resilience which follows the tale of a young woman trapped in a life of prostitution.
With themes of isolation, self-resilience, and salvation in the turn-of-the-century set music video, it is clear that modernism hasn’t abstracted us from those character arcs. Pulling parallels and finding resonance within this tinged with demure darkness Avant-Garde riff-caressed feat of rock n roll that will leave you arrested by the unparalleled artistry is all too easy.
Lisa is definitive proof that Romance isn’t dead. It crescendos throughout the tenderly nostalgic balance between sadness and admiration of feminine power. I’ve often maintained that no man wrote women better than Richey Edwards; Paul Shine may have just set the bar a little higher with Lisa. It amorously rivals the lyrical salvation that will perpetually reside in Little Baby Nothing.
“Inspired by Dostoyevsky’s novel Notes From The Underground, the song tells the story of isolation, self-reliance and the eventual salvation of Lisa, a young woman trapped in a life of prostitution. Lisa is able to detach herself from the danger and despair of her environment and the challenging presence of a bitter client, thus reshaping the original narrative and becoming the heroine of her own tale.
Lisa represents unwavering strength of character. She dreams of freedom but is brave enough to wait for the right moment to escape and knows how to navigate the circumstances. She is the ultimate quiet strategist.” – Dead Writers
The official music video premiered on December 9th. Lust over it on YouTube.
Stream & purchase the single via Bandcamp.
Review by Amelia Vandergast