‘Wasting Time’ is the second single from Princess Chelsea’s album The Loneliest Girl due out September 7 on New Zealand based Lil’ Chief Records.
It follows the popular ‘I Love My Boyfriend’ (“a DIY pop song that subverts the rules” – NOISEY, UK) a deceptively clever 60s garage rock song discussing an internal struggle with monogamy.
In a similar manner ‘Wasting Time’ sounds sugary sweet but is essentially a diss track. Watch the video below.
Chelsea says: “The Loneliest Girl album deals with themes of loneliness that come from my lifestyle as a DIY workaholic. Occasionally I leave the house and I see younger happier more carefree people (like I used to be) outside just enjoying their lives together at coffee shops and bars and I jealously long for that again.
In this song I accuse them of Wasting Time but I’m not sure I really believe that – this is stuff I had to give up to pursue music and sometimes I wonder if it’s worth it. I guess this song is pretty bitchy and I’m revealing and working through my insecurities but trying to be funny about it too 🙂
I did manage to tip my hat lyrically to Townes Van Zandt which is cool.
Musically speaking the arrangement sounds like early Madonna at the start – but then there’s a bunch of 1960s Brian Wilson shit going on. Then I peppered it with kitschy Yamaha DX7 synths then of course I just needed the trombone and a choir lol to really make it all hit home…. I guess it’s a bit of a pop culture puzzle musically speaking – all the stuff I love. I can’t be bothered with subscribing to any kind of ‘sound’.
The music video for ‘Wasting Time’ was shot, edited and directed by Anastasia Doniants in a day using only ten minutes of Super 8 film and a torch operated by YourFriendElectric. Some of the film was expired which caused unpredictable happy accidents like what appears to be strange lightning flashes in the sky and the iconic single art shot.
The Loneliest Girl was recorded by Chelsea between 2016 and 2017 in her home studio in West Auckland, New Zealand with production assistance from label-mate Jonathan Bree. Chelsea’s trademark arrangements featuring classic 80s Synths (Yamaha DX7, Roland D-50), ambient guitars, and orchestral instruments are all here but are presented in a more refined and simple manner than on her previous releases.
The album examines the loneliness and ultimately the artistic satisfaction a strong work ethic can bring, the result of which is this eclectic collection of pop songs. As a studio based artist Chelsea was conscious of not wanting to fall too deep into a production hole for her third album and wanted to more than ever before capture moments of inspiration, madness and spontaneity on record.
A classically trained pianist, Nikkel lent her talents to self-professed “circus punk” act Teen Wolf in the mid-2000s, and later in the touring lineup of indie pop outfit the Brunettes. When she wasn’t performing, she worked as a composer for a local recording studio, all the while refining her songwriting and production skills. Her full-length debut as Princess Chelsea, Lil’ Golden Book, was released in late 2011 by New Zealand label Lil’ Chief, and included the viral YouTube hit “Cigarette Duet” (nearly 41 million views and counting). The album was a collection of songs about her youth presented with innocent melodies and baroque arrangements to create a musical fairy tale. The juxtaposition of her simple arrangements, childlike delivery and cynical wit is a signifiant and defining characteristic of her music.
She followed up with a synth-heavy sci-fi opera about a future world rendered helpless in the face of depression brought on by technology, The Great Cybernetic Depression was released by Lil’ Chief and Flying Nun in June 2015. She also released a surprise album of covers called Aftertouch, featuring covers by Nirvana, The Beatles, Interpol, Lucinda Williams and Marianne Faithfull.
Stylistically The Loneliest Girl moves away the more uniform synth sounds ofThe Great Cybernetic Depression to more eclectic territory similar to her first release Lil’ Golden Book and certainly sounds like a record made by a lover of pop music across all genres from 60s girl groups to 80s power ballads, and late 80s acid house to 90s pop. Like her earlier work, adult issues are presented in a humorous and sometimes childlike manner, and this juxtaposition rather than softening the blow makes jarring social commentary hit harder.
PRINCESS CHELSEA ONLINE
http://princesschelsea.
