FIKA RECORDINGS. Release: May 17, 2019. Queer New York duo the Ballet marry the DIY ethos of the Hidden Cameras with the wry poeticism of the Magnetic Fields and the romantic pop of Jens Lekman, to create literate, infectious pop gems.
Formed in 2005 by Greg Goldberg and Craig Willse, the Ballet self-released two previous albums: Mattachine! (2006) and Bear Life (2009). These caught the attention of Fortuna Pop!, which released their third album, I Blame Society, in 2013. The Ballet has been joined by a few other musicians along the way including Ginger Brooks Takahashi and Michael O’Neill, who left in 2007 to join JD Sampson in MEN, as well as guest appearances on previous albums from Linton from The Aislers Set, Ramesh from Voxtrot, Scott Matthew, and Kaki King.
In addition to citing Stephin Merritt as an influence, Goldberg, who writes and home records all of the band’s songs, draws from an array of pop artists and periods, from 60’s bubblegum to 80’s synthpop and 90’s indiepop, fusing these in sophisticated and novel ways that reward repeat listening.
The Ballet’s new album, Matchy Matchy, is a return to the upbeat tenor of the band’s first two albums. While inspired by Goldberg’s experience navigating an open relationship with his boyfriend of 14 years, Matchy Matchy is not straightforwardly autobiographical; Goldberg writes from his experience, while also fantasizing about the perspective of his objects of desire, leaving ambiguous which is which. He is generally less melancholic than on I Blame Society, and fans will notice a return to earlier themes (“Looking” tackles Grindr, as “Personal” did Gaydar in 2006). Goldberg is not shy to write songs with explicitly queer subjects (“But I’m a Top,” “Messing Around,” “First Time in a Gay Bar”), while also taking on more universal longings, pleasures, and frustrations (“Jersey,” “Love Letter,” “Cry Baby”).
As the album’s title suggests, Matchy Matchy is also a meditation on sameness, both in its musical material (think limited chords in major keys, repeated phrases and constructions, and citations of Goldberg’s influences) and in its lyrical exploration of queer relationships and encounters. The album reclaims the insult of “matchy matchy,” finding value in repetition and doubling, both within the album and across the Ballet’s discography.
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